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Dissertations / Theses on the topic 'Photography Literature'
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Young, Ann Blackler. "Photography and the Photographer in Carl Sternheim's Die Kassette, Thomas Mann's Der Zauberberg, and Marieluise Fleiber's Pioniere in Ingolstadt /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487864986611992.
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Polk, Randi Lynn. "(Un-)Framing vision: text and image from the new novel to contemporary expressions of identity." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1121274446.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 217 p. Includes bibliographical references (p. 203-217). Available online via OhioLINK's ETD Center
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Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.
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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.
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Birkhofer, Melissa Dee DeGuzmán María. "Voicing a lost history through photography in Hispaniola's diasporic literature." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.
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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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Switzer, Sharon. "Waltzing in Now-time the unlikely event of a correspondence between Barthes, Benjamin, Proust and my mother /." Link to electronic resource, 1997. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp01/MQ28670.pdf.
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Wegner, Frank. "Photography in Proust's À la recherche du temps perdu." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619756.
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Durden, Mark. "Photography and the book : from Fox Talbot to Christian Boltanski." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282318.
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MOTA, SERGIO LUIZ RIBEIRO. "WHAT LEADS SIGHT TO BLINDNESS: LITERATURE, FILM, PHOTOGRAPHY AND OTHER VISUAL MEDIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4832@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm O que destina o olhar à cegueira, discutem-se algumas representações do olhar cego como condição contemporânea, em textos ficcionais e teóricos, filmes e outras mediações imagéticas. Um dos objetivos do estudo é procurar respostas para as perguntas: de que maneira falar de cegueira diante da predominância de uma civilização da imagem? Ou estar diante de um olhar que se deforma ao perceber um mundo onde as imagens são cada vez mais numerosas, porém mais diversificadas e mais intercambiáveis? Na investigação de diversos textos, percebem-se as implicações do olhar deformado na experiência acelerada das imagens contemporâneas. É esta reflexão crucial que ecoa ao longo do texto, na revisão de algumas perspectivas possíveis para pensar o problema da cegueira como ganho, como outro ponto de vista, como nova possibilidade de visão, como antídoto para o acúmulo sem limite do excesso. E ainda: tendo o cuidado de não repetir os clichês do gênero que descobrem a espantosa capacidade de os cegos exercitarem sua percepção diante do mundo que se lhes apresenta como retrato de uma negação: a negação do visual.
In What leads the look to blindness we find discussions about some representations of the blind look as a contemporary condition in fictional and theoretical texts, films and other images mediations. One of the essays goals is to look for answers to the following questions: how to talk about blindness in a civilization where the image is predominant? Or how to confront ourselves with a world vision that is ever transforming while facing images that are always increasing, though more diversified and interchangeable? .In the process of reviewing several texts on the subject we find the implications of the transformed vision in the accelerated experience of contemporary images. This is the crucial reflection that echoes in the text, in the review of some possible perspectives to think the blindness issue as a gain, as another point of view, as a new possibility of seeing, as an antidote to the unlimited excess. Yet more: taking care of not repeating the gender clichés when unfold the amazing ability the blind have when exercising their perception before the world that presents itself as a denial portrait: the visual denial.
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Jones, Susanne Lenné. "What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132239561.
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Jones, Susanne Lenné. "What's in a frame? photography, memory, and history in contemporary german literature /." Cincinnati, Ohio : University of Cincinnati, 2005. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1132239561.
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Thesis (Ph.D.)--University of Cincinnati, 2005.Advisor: Katharina Gerstenberger. Title from electronic thesis title page (viewed April 22, 2009). Keywords: Photography; Memory; History; Holocaust; German literature; Jewish; fact; fiction; Sebald; Maron; Liebmann. Includes abstract. Includes bibliographical references.
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Richards, Sharolyn. "Modernizing Composition with an Online Photography-Themed Course." DigitalCommons@USU, 2018. https://digitalcommons.usu.edu/etd/7049.
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In this thesis, I argue that it is important for students in a Freshman English Composition class to learn to compose with images and text. This builds on what other research and professors have done in having students turn in multimedia compositions. Since there is opportunity for students to compose with images and text in print as well as online, it is important for them to know how images and text work together. This thesis includes the research I did and lesson modules for an example semester.
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Boman, Charlotte. "Domestic iconography : a cultural study of Victorian photography, 1840-1880." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/101290/.
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This critical study of photography between 1840 and 1880 focuses on the medium’s complex role as a mediator of the ideology of domesticity in an era of intense industrialisation and far-reaching popularisation. In doing so, photographic production and consumption are located within the wide, hybrid framework of print and commodity culture, with particular emphasis placed on the patterns of communication emerging through the new network of family periodicals. This methodological approach serves in part to overcome the considerable difficulties of bringing amorphous voices vying for discursive control over photography into focus. More importantly, however, it is proposed that this journalistic field testifies to the conflicting appeal photography held for a domestic readership, and the intricacy of combining a family orientated agenda with the challenges presented by a modernising world. The turn towards a more divisive perspective on photography in the mid-1850s is fundamentally bound up with extraneous conditions, circumstances which shaped patterns of discourse, professional practices and ordinary usage: urbanisation, an enlarging consumer market, social and demographic change and evolving anxieties around identity, gender and domesticity in light of all these permutations. As indicated by articles, published correspondence, advertisements and publicity, photography responded to conflicting desires and impulses present in culture and society at large. Liminal by nature, the medium figures as a powerful symbol of domestic boundness but also as the embodiment of a swelling engagement with the metropolis, a site of hazard and iniquity, but also an advancing arena for bourgeois social performance and play. Thus, this study, like the Victorian photographer, traces the ideological construction of the Victorian family through multiple lenses - comic, architectural, artistic, familial, institutional, topographical and social.
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Halsban, Megan. "Stereographs as Scholarly Resources in American Academic Libraries and Special Collections." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/543.
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This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.
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Giles, Jacinta. "Ordinary Affects: Minor Photography, the Televisual and the Baroque Mise-en-scène." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/409629.
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This practice-led research project investigates ways to account for contemporary photographic practices that reside in the continuum between the representational and the abstract. As an inquiry with multiple entryways, it is an attempt to offer a language through which to describe and evaluate photography that is not easily situated in existing traditions. This thesis argues that photographs, which are difficult to locate through conventional readings, can call forth new ways of deciphering and translating our affective experience of everyday life and give voice to difference. This project is, therefore, also a generative contribution to the emergent literature on ordinary affects within the visual arts—a subject which has been more rigorously considered in literature, theatre, cinema, and philosophy.
In offering new possibilities for thinking about contemporary photography, through analysing its technical means of production and the related conceptual implications, this research moves towards a better understanding of a photograph’s affective charge. As an interdisciplinary entanglement between philosophy, art theory, contemporary artworks, and a studio-based practice, this project does not seek to prove if something is true, but rather looks to challenge traditions, make new connections, and create lines of flight through unconventional assemblages.
In drawing upon the work of Gilles Deleuze to map and contextualise the research findings, this thesis offers encounters that operate beyond representation to create new images of thought. Through examining the concepts of minor photography, the transnarrative televisual, and the baroque mise-en-scène, this research asserts the potential of expanded photographic practices to dismantle habits of perception and create alternative pathways for imagining the world.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Thompson, Angela M. "Ethics of seeing and politics of place : FSA photography and literature of the American South /." view abstract or download file of text, 2006. http://wwwlib.umi.com/cr/uoregon/fullcit?p3211227.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-224). Also available for download via the World Wide Web; free to University of Oregon users.
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Ballentine, Brandon Clarke. "The Narrative Lens: Understanding Eudora Welty's Fiction through Her Photography." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2199.
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Eudora Welty's brief photographic career offers valuable insight into the development of her literary voice. She discovers many of the distinguishing characters of her fiction during the 1930s while traveling through Mississippi writing articles for the Works Progress Administration and taking pictures of the people and places she encountered. Analyzing the connections between her first collection of photographs, One Time, One Place: Mississippi during the Depression: A Snapshot Album, and her first collection of short stories, A Curtain of Green, and Other Stories, reveals the writer's sympathetic attitude towards her characters, the prominence of place in her fiction, and her use of time in the telling of a story.
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Allison, Nancy Etta. "Autobiographical Images: Photography and Identity in Maxine Hong Kingston's "The Woman Warrior" and "China Men"." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625815.
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Henninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Schneider, Gesa. "Das Andere schreiben : Kafkas fotografische Poetik /." Würzburg : Königshausen & Neumann, 2008. http://d-nb.info/989754812/04.
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Worman, Sarah E. Ms. ""Mirror With a Memory": Photography as Metaphor and Material Object in Victorian Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.
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Adair, Vivyan C. "From "good ma" to "welfare queen" : a "genealogy" of the poor woman in 20th century American literature, photography and culture /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9511.
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Williams, Sarah. "Depth of field : aspects of photography and film in the selected work of Michael Ondaatje." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2401/.
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This thesis examines aspects of photography and film in the selected work of Michael Ondaatje, specifically analysing their implementation and function within The Collected Works of Billy the Kid, Running In The Family, In the Skin of a Lion and The English Patient. Ondaatje's two films, Sons of Captain Poetry and The Clinton Special, as well as Anthony Minghella's film adaptation of The English Patient, are also examined. My critical approach is eclectic and driven by the demands of individual texts, focusing on some of the ways in which photography and film affect and help define the formal and thematic components of the prose works. My approach addresses photographic perspective and reader response with specific reference to the ontological nature of photographic stillness, as well as various components of filmic writing and the challenges of prose to screen transfer in cinematic adaptation. This study reveals how an exploration of the photographic and filmic aspects of the texts provides new insights into the way Ondaatje's work promotes indeterminacy of meaning and a blurring of the boundaries between genres.
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Langham, Rebecca Leigh. "Uncanny Bodies in Sacred Settings: Creating the Divine in Rodney Smith's Photography." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/8801.
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The photographer Rodney Smith shows us images of real things and people, but real things and people that aren’t positioned in real ways and places people would actually be. Instead, he uses something very familiar to each of us–the human body–and consistently puts it in very unfamiliar situations. By using something so intimately familiar to each of us as the body in weird ways, he automatically jars our own experienced sensations. And this jarring of familiar sensations, this defamiliarization of something so familiar to us, is what typically results in what literary critics term the feeling of the uncanny. What the uncanny does, in its defamiliarizing of the familiar, is to jar viewers from their sense of the familiar. It displaces them from where they normally are. In Rodney Smith’s photographs, our bodies, unfamiliar with the bodily experiences of his subjects, are dislodged from where they are. Yet the feeling produced by Smith’s photography is not uncanny; rather, it has a sort of reverent, almost sacred, effect. His background as a graduate of the Yale School of Divinity makes him deeply interested in truth beneath the surface, and so he uses photography to get at that sort of truth through his use of the body in ways that would typically produce an uncanny effect, yet don’t. The settings in which he places bodies, as well as the way he uses the bodies themselves, help to shift the feeling of the uncanny into the feeling of the divine or sacred. His ability to do so is highly contingent upon his use of bodies: because we, the viewers, all have bodies, our bodies resonate with those we see in his photography. We are connected to the subjects of his works in a fundamental and profound way because of our embodiedness. And using this connection, Rodney Smith takes our now displaced bodies and transports them with his bodies to somewhere beyond the surface, somewhere sacred. Through his use of techniques typical of the uncanny, he shifts the effects of the uncanny from simple displacement of the self to meaningful replacement of the self within the greater context of our unique and, in his eyes, beautiful world we live in.
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Tranca, Ioana Alexandra. "Aesthetics in ruins : Parisian writing, photography and art, 1851-1892." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/270739.
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This project explores two main lines of inquiry concerning representations of ruins in Paris. I first identify a turning point in the evolution of the ruin leitmotif beyond Romanticism in its transfer into a new context: modern Paris. The analysis demonstrates the correlation between this leitmotif and urban environment in transformation, and their influence on aesthetics, leading to the renewal of modes of representation in literary and visual discourse. Unconventional ruins, recently created by demolition during Haussmannisation (1853-70) or war (1870-71) challenge conceptions about space (inside/outside, up/down, visible/invisible), time, and the individual in relation to the city. In view of tracing the transformation of the ruin ethos in relation to modern sensibilities towards the city and its modes of representation, a chronological approach concentrates on two main periods divided into four chapters. The first interval extends from 1848 throughout the Second Empire and the second spans the 1870-1871 conflagration and the Third Republic. An interdisciplinary and dialogic approach reveals the exchanges between different media (literature, journalism, painting, photography) aiming to convey the paradoxes of Paris's modern ruins. Moreover, close reading and comparisons of authors' and artists' depictions across media and genres nuance, correct or disprove critical appraisals, re-establishing artistic authority (e.g. photographers Charles Marville and Bruno Braquehais). The second line of inquiry posits that representations of ruins reflect on the relationship of Parisians with their city during systematisation and wartime destruction. Research reveals that individual initiatives of representing urban ruins attest to a new sensibility towards the city, preceding the Second Empire's (1853-1870) apparatus of historical and topographic documentation to preserve the appearance of spaces before intervention. Thus, during Paris's systematisation, private and artistically-minded projects become the tools of patrimonial preservation. By comparison, aesthetic approaches to ruins in 1871 mark a new appreciation of modern architecture, while engaging with war trauma.
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Counter, Annie. "Photography, text, and the limits of representation in Marcel Proust's 'In Search of Lost Time' and Roland Barthes's 'Camera Lucida'." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.18 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435857.
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Komosa, Eric. "SERPENT SOMETHING." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491318561523256.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Ferguson, Elizabeth. "It's important for me to get good light. or "things which are happening"." Pitzer College, 2008. http://ccdl.libraries.claremont.edu/u?/stc,59.
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Meyer, Anja [Verfasser]. "Images of Traumatic Memories : Intersections of Literature and Photography in the Novels of Riggs, Safran Foer and Seiffert / Anja Meyer." Göttingen : V&R Unipress, 2020. http://www.v-r.de/.
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Tacca, Paula Cristina Dolenc Cabral 1980. "Imagens da poesia erótica de Hilda Hilst." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251150.
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Orientador: Joaquim Brasil Fontes JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-22T10:47:29Z (GMT). No. of bitstreams: 1 Tacca_PaulaCristinaDolencCabral_M.pdf: 5563981 bytes, checksum: c0376d69299d90030997c3c8991070d7 (MD5) Previous issue date: 2013
Resumo: Este estudo parte de uma construção autoral poético-fotográfica, desenvolvida a partir da leitura, fragmentação e interpretação do livro Do Desejo, da escritora e poeta Hilda Hilst. Desde essa produção experimental, que dialoga diretamente com fragmentos da poesia hilstiana e com as ideias e construções sobre o desejo apresentadas pela escritora em seu livro, intenciona-se uma fusão entre o tema do desejo e outros motivos na obra de Hilda Hilst e os de uma leitora que se envolve e interpreta a sua poética a partir do suporte fotográfico. Para ajudar a desenvolver uma reflexão sobre essa produção, alguns pensamentos e autores são colocados em cena para um diálogo sobre o processo criativo desenvolvido na relação texto-fotografia, autora-leitora, assim como textos de narrativa mais poética que pretendem apresentar referências, motivações e construções que perpassam a produção autoral que é o foco do trabalho.
Abstract: This study starts from an authorial poetic-photographic construction developed from the book "The Desire"'s reading, fragmentation and interpretation, writer for Hilda Hilst. Sinc that trial production, which speaks directly with fragments of the poet and her ideas and constructions about desire, intends to be a fusion between the desires and issues Hilst and a reader who is involved and interprets her poetry from the photographic support. To help develop a reflection about this production, some thoughts and authors are placed on the stage for a dialogue about the creative process developed in the text-picture relationship as well like author-reader relationship. Personal poetic narrative texts wish and intend to present references, motivations and constructions that underlie the authorial production that is the focus of the work.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Pallas, Basile. "De la vue au regard : littérature et photographies au XIXe siècle." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
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Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographiqueIn the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
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Chauvet, Émeline. "Littérature, photographie et pornographie : Questions de temporalités." Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0060.
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Au travers des correspondances esthétiques entre littérature et photographie, françaises et américaines, ce travail de recherche se propose d'analyser le discours sur la pornographie (que nous qualifierons de « métapornographie ») mis en scène par l'art postmoderne et ses répercussions sur le corps pornographique. Ce travail prend appui sur trois séries photographiques A History of Sex d’Andrés Serrano (1995), Sex Pictures de Cindy Sherman (1992) et Pornographie d’Édouard Levé (2002), ainsi que sur trois romans Souvenirs du triangle d’or d’Alain Robbe-Grillet (1978), Blood and Guts in High School de Kathy Acker (1978) et Les particules élémentaires de Michel Houellebecq (1998). Un corpus secondaire emprunté aussi bien à la littérature et à la photographie qu’au cinéma ou à la performance étayera également l’analyse. L’hétérogénéité du corpus d’étude a permis la recherche de critères homogénéisants et susceptibles de guider toute l’analyse à savoir : la crise du sujet, la déhierarchisation, l’importance de la metatextualité avec le rejet du culte de l’unique et la permanence des discours sur la fin. La démonstration tient donc compte de ces invariants en les rattachant systématiquement à l’expression d’une temporalité particulière et à ses effets sur le corps pornographique : on assiste à une déformation successive du corps pornographique qui, à force d’hybridité, de franchissement de limites et de fragmentation n’a plus qu’une solution, celle de se reconstruire. Mais cette reconstruction, intimement liée à un processus de détournements, est marquée par une esthétique du trop et du kitsch. Ne reste plus qu’un corps froid, usé, aux limites de la mort et qui appelle son propre dénouementThrough the aesthetic similarities between French and American literature and photography, this research work intends to analyse the discourse on pornography (which we will call "metapornography") staged by postmodern art and its repercussions on the pornographic body. This work is based on three photographic series, A History of Sex by Andrés Serrano (1995), Sex Pictures by Cindy Sherman (1992) and Pornography by Édouard Levé (2002), as well as three novels, Souvenirs du triangle d'or by Alain Robbe-Grillet (1978), Blood and Guts in High School by Kathy Acker (1978) and Les particules élémentaires by Michel Houellebecq (1998). A secondary corpus borrowed from literature and photography as well as from films or performance will also support the analysis. The heterogeneity of the corpus of study allowed the search for homogenizing criteria that could guide the whole analysis, namely: the crisis of the subject, the de-hierarchization, the importance of metatextuality with the rejection of the cult of the unique and the permanence of discourses on the end. The demonstration therefore takes these invariants into account by systematically linking them to the expression of a particular temporality and its effects on the pornographic body: we are witnessing a successive deformation of the pornographic body which, by way of hybridity, crossing boundaries and fragmentation, has only one solution left: to rebuild itself. But this reconstruction, intimately linked to a process of diversion, is marked by an aesthetic of the too much and the kitsch. All that remains is a cold, worn-out body, on the edge of death, calling for its own outcome
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Pinciroli, Lisa. "Space and loneliness: the artistic disorientation and exploration in the urban environment." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30761.
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O objetivo principal do meu trabalho pode ser resumido numa pergunta: qual é a relação entre pessoas e
espaço? Tudo começou a partir daqui. Durante a minha prática fotográfica gosto de andar sem um plano
específico ou meta, porque acho que é a única maneira para encontrar a essência da cidade. Mas a verdade
é que, no fim das minhas explorações, tudo se torna em uma questão de espaço.
Uma pesquisa sobre a relação que eu tenho com o espaço, e que outras pessoas também têm; a forma
como a composição da cidade é feita de espaços cheios e vazios, a maneira como as casas se desenvolvem
ao redor do conceito de espaço sensorial e visual. Depois de ter analisado diferentes definições de espaço,
tentei analisar o sentimento que está por trás disso, aquele que por séculos tem sido o leitmotiv de artistas
e poetas – quer positivo quer negativo – e agora mais que nunca, tem sido o centro da atenção dos média
e da arte por causa da situação mundial atual. Este projeto teve como objetivo explorar cada tonalidade
da ideia de solidão como sentimento artístico, aplicado ao conceito do espaço e contexto urbano; ABSTRACT: Space and loneliness: the artistic disorientation and
exploration in the urban environment
In the end the purpose of my work can be summed up with only one question: what relationship do
people have with space? Everything starts from there. In my photography practice I like to wander
without a specific plan or direction in order to catch the essence of the city, but the truth is that at the
end of my explorations, everything becomes a question of space. The relationship that I have with
space, that other people have with it, how the city is made by voids and full spaces, how a house
evolves around the concept of visual and sensory space. After analysing some different definitions
of space, I will be dealing with the feeling behind it, the one that for centuries has been the leitmotiv
of artists and poets – in both positives and negatives ways – and now more than ever has been on the
focus of media and art because of the recent world situation. The aim of this paper is to try to explore
every single shade related to the idea of loneliness seen as an artists’ feeling and applied to the spatial
and urban contextualization.
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Norrie, K. M. "Cloth, cull and cocktail : anatomising the performer body of 'Alba'." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:c67e59e2-4556-4baf-8475-fa092952bf07.
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Where and how can the live experience 'being there' be positioned in Scottish live art culture? Such transformatively liminal corporeity is situated in three examples of performative objects intrinsically linked to readings of Scottish identity. By collating a 'blood culture imprint' of 1970s performance art with Scottish live artist Alastair McLennan's positioning of the artist body as art, the thesis presents a revised understanding of how and where the live can be placed within Highland Gaelic culture. The specificity of this frame is intrinsically linked to the 'blood culture imprint' of Culloden and as such presents a liminal outworking in the three examples chosen which collectively portray an object body in the form of a textual anatomy of 'Scotland' or 'Alba'. Using contemporary live art discourse, the ontological origins of performance art in Scotland are situated as potentially live within the transfixed frame of the thesis itself, thereby positioning the authorship and readership of its contents as a revivifying act per se, reflecting the theoretical argument. I will argue that despite a seeming lack of performance art tradition in Scotland, this 'blood culture imprint' of the 1970s can be used to define Culloden and post- Culloden culture as necessarily animated by instances of live art. The examples chosen are James Clerk Maxwell's first colour photograph of a tartan ribbon, scalping survivor Scotsman Robert McGee's cabinet card and James MacPherson's Ossian repositioned as a post-genocide numinous wish text. Each performative object betrays its ontological origins, displaying a textual anatomy which argues that collating a performer body of 'Alba' can demonstrate a fundamental and historical performance culture.
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Nash, Leah Lohr. "The Enlarger." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1556133210381181.
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Boyd, Ailsa Margaret Susan. "A home of their own : representations of women in interiors in the art, design and literature of the late nineteenth century." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/4407/.
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This thesis engages with the contribution made by literary and visual representations to debates about woman's role in Britain and America between 1860 and 1917. During, that is, a period of transition from the relative securities of the early Victorian period until the radical social shifts propelled by the First World War. I introduce design reform debates in painting and interior design, and examine how these were approached by George Eliot, Henry James and Edith Wharton, both in the homes they actually lived in, and those they created in their fictions, particularly for their female characters. Issues of the aesthetic and the moral, and the shifting relationships between them, underpin responses to art and design of the period, and are reflected generally in the literary and visual arts. The representation of women in domestic space, in actual and literary interiors, necessarily has ideological implications regarding the proper place of women within society. Thus, directly and obliquely, questions were repeatedly being asked about what constituted a desirable and fulfilling life for women in this society, and how such a life was to be achieved. To support my contention that this is a wide debate, I am looking at representational paintings of women in interiors, and advice about decoration in manuals of household taste, to augment the primary focus of the thesis on various fictional portraits of ladies. In the Introduction I discuss some recent examinations of women's space and place in Victorian society in art historical, literary and cultural studies. I explain the ideology of separate spheres and how it was interpreted in the plan and decoration of the home, underpinning the codification of interior decoration. I consider also how theorisations of 'the gaze' have been used to analyse representations of women and to explore issues of female empowerment. In Chapter One I examine the history of the design reform movement, Aestheticism, the application of the separate spheres in practice and the influence of manuals of household taste on how the home was actually decorated. Women's taste was a contested issue and the conceptual conflation of the women's body with the house formed the background to Aesthetic paintings of women. Some women decorators, often connected to radical political movements, used their professionalism to make the home a site of power, countering the seeming entrapment of women within the interior. In Chapter Two I examine George Eliot's unconventional home life, particularly the decoration of The Priory. I discuss how she utilised interiors and related themes of seeing and commodity fetishism in the explication of character in The Mill on the Floss, Middlemarch and Daniel Deronda. Sympathy with the wider world enables Eliot's female characters to transcend the destruction of subjectivity threatened by constriction within an unhappy home. In Chapter Three I examine how Henry James dealt with the complicated conceptual relationship of Europe and America in The Europeans, using themes of the search for a home and the theatricality of self-presentation. I explain his notion of the House of Fiction, which was expanded by Edith Wharton. In The Portrait of a Lady, taste is used as a moral indicator in his discussion of the 'envelope of circumstance', with Aestheticism as the background to its use. James theorises the status of women as objects within interiors and what this means for Isabe1' s developing consciousness, as she searches for a husband and home. James uses the ambiguities of 'seeing' to explore how good taste is reached at expense of human relationships. In Chapter Four I discuss Henry James's own search for a home in his later years, and the significance of Lamb House. I discuss his friendship with Edith Wharton and compare their taste in decoration and how this related to moral themes in their novels. In The Spoils of Poynton good or bad taste seems to divide people morally. However, the rigidity of these divisions is questioned, and Fleda and Mrs Gereth discover unhappiness as an authentication of experience, in a small home without men. In Chapter Five I discuss Edith Wharton's development as a writer, the homes she grew up in and how this relates to the decoration and creation of her own homes. Her highly theorised approach to interior decoration is demonstrated by The Decoration of Houses, which was put into practice in her own homes, finding its most perfect expression in The Mount. Wharton's experiences of creating a home for herself gave her the strength to write out of a society disinclined to attribute serious artistic effort to women, and her writings re-enacted the problems she encountered living in this society. In Chapter Six I examine Wharton's The Houseo! Mirth, Ethan Frome and Summer, employing Wharton's aesthetic theories as a key to interpretation of her fictional works. Lily Bart is seen within different interiors as she descends through society, and gender issues are illuminated by a discussion of how the tableau vivant at the centre-point of the book brings together themes of theatricality and the gaze. Lily's self-fashioning is fraught with misreadings by her society, disastrous for her search for a happy and beautiful home. The poorer setting of the two novellas demonstrates that Wharton applied her theories across social strata. For Wharton, the achievement of a happy home, morally decorated, could be impossible for women in American Victorian society. In the Conclusion I look at paintings by progressive artists which enacted the instabilities of cultural change in their depiction of women in interiors. The Great War destroyed the bourgeois interior that the fictional women I have discussed found it so difficult to remain within. The rejection of the constrictions of separate spheres became part of a new feminist project, articulated by Virginia Woolf and Catherine Carswell. Women no longer felt the need to be constrained by the gilded cage, and looked for possibilities lying outside of the drawing room.
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Crooke, Andrew. "In praise of peasants : ways of seeing the rural poor in the work of James Agee, Walker Evans, John Berger, and Jean Mohr." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1576.
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In Praise of Peasants focuses on two sets of collaborators whose photo-textual depictions of the rural poor have been widely hailed on either side of the Atlantic but rarely discussed together. The British writer John Berger has acknowledged that the key inspiration for his projects with Swiss photographer Jean Mohr was Let Us Now Praise Famous Men (1941/1960) by James Agee and Walker Evans. As in that encomium to Alabama tenant farmers, Berger and Mohr straddle a line between social documentation and artistic expression in their own unclassifiable books: A Fortunate Man (1967), about a doctor's relationship with his patients in an English forest; A Seventh Man (1975), about the experience of migrant workers across Europe; and Another Way of Telling (1982), about the lives of Alpine peasants. All four of these cooperative endeavors brim with unresolved conflicts between ethics and esthetics, as well as authorial ambivalences toward rusticity and poverty. Manifold affinities in the two creative partnerships demand a transatlantic assessment that might view Agee and Evans as "unpaid agitators" for other artists and witnesses beyond an American ambit.
From among the many sensitive portrayals, including Berger's Into Their Labours trilogy, that constitute a rich literature of rural poverty, these collaborative enterprises are set apart not only by their interdisciplinary nature and fierce solidarities but by the equal weight they accord to images and words. Both pairs of authors develop innovative means for conjoining photography and writing. Both worry over the effects of their pictures and text on their subjects in addition to pondering how their distinct yet coordinated mediums might affect their viewers and readers. The enduring relevance of their representational techniques and motifs emerges from a productive dialectic between witness and artistry. Agee, Evans, Berger, and Mohr ingeniously explore how an ethical responsibility to bear witness for the exploited without inflicting further exploitation is enhanced or subverted by an esthetic impulse to translate, verbally and visually, such marginalized lives into art. Their multifaceted ways of seeing the rural poor ultimately engender a means of praising their protagonists, transforming moments of witness into monuments of artistry.
Following a comparative analysis of these authors' attitudes, consistencies, and contradictions over the span of their careers, I offer chapters on their likeminded works. "Abashed Ambition" scrutinizes the contest deliberately staged between intentions and performance in Let Us Now Praise Famous Men , while "A Continuous Center" examines how Agee's effusive text and Evans's austere photographs suspend instead of synthesize a pivotal tension between centripetal and centrifugal forces. "A Sense of Measure" looks at why Berger and Mohr increasingly empathize with the rural poor, and how their three ventures generate "imaginative documentaries" or "narrative dialogues" between images and words. My epilogue knits together Agee, Evans, Berger, and Mohr by concentrating on a handful of their creative peers or heirs who have been inspired or agitated by their collaborations and whose own books similarly probe the ethical jeopardies and esthetic challenges of representing rural life or poverty through both prose and pictures.
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Brislin, Chelsea L. "STRANGERS WITH CAMERAS: THE CONSEQUENCES OF APPALACHIAN REPRESENTATION IN POP CULTURE." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/59.
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Representations of the Appalachia region in literature, art and pop culture have historically shifted between hyperbolic, colorful caricatures to grotesque, sensationalized, black and white photography. This wide spectrum of depictions continually resonates within the North American psyche due to its shared commonality of Appalachia as the cultural “other.” This othering frequently leaves audiences with a kind of relief that this warped representation of backwards, rural poverty is not their own progressive, present-day reality. Countless artists have exploited the region in order to show the impoverished side of rural Appalachia and spin a failed capitalistic way of life into a romanticized, intentional “return to the frontier.” While these representations are often littered with evidence of economic and environmental devastation, audiences are not educated, or otherwise are not provided enough context on how to identity such signs. Some writers have gone so far as to repeatedly depict Appalachians as aggressive and violent in their primitivism, attributing this to their genealogy in relation to the landscape.
Through analyzing how a selection of insider and outsider works includes or neglects three primary elements crucial to successful cultural representation: compassion, context and complexity, one can begin to broadly define what many Appalachians feel is lacking from their own narrative within pop culture. Something as simple as the angle of a camera can dramatically affect the way a viewer experiences a photograph and its subject. Furthermore, the chosen narrator of a novel can make the difference for a reader between a compassionate portrayal of a region previously unknown to them, and one that enforces the existing stereotype of Appalachia. This dissertation will begin to broach the subject of responsibility in the context of cultural representation, as well as how individual artistic motivations and decisions can have negative, far-reaching consequences for the Appalachian region.
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Demaree, Darren C. "Black and White Pictures." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1298396215.
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Agostineti, Kaique. "Outros grandes sertões: cruzamentos entre sertão literário, nação brasileira e fotografia documental." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3712.
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Outras
This work seeks to understand the process of the Brazilian nation in photographic narrative about the Sertão. Thus, we analyze the ideas of authors who wrote about modern nation and those who created narratives that proposes the existence of a nation from the Sertao category. First, we analyze works of national literature as Os Sertões de Euclides da Cunha and Grande Sertão: Veredas by João Guimarães Rosa. Subsequently, we discuss the passage of literary Sertão for photography. We understand the photographic language and medium, for its unique characteristics, generate images that differ from the hinterland described in the pages of national literature. Then we analyze this backcountry in the case of Flávio de Barros’s photographs in Canudos and photographic work Sertões: Luz & Trevas by Maureen Bisilliat. Thus, we launched the proposal for analyzing the intersections between the literary sertão, the modern nation and the documentary photography.
Esse trabalho busca entender o processar da nação brasileiras nas narrativas fotográficas sobre o sertão. Assim, analisamos as ideias de autores que escreveram sobre a nação moderna e daqueles que laçaram narrativas que propõe a existência de uma nação brasileira a partir da categoria sertão. Primeiramente, trabalhamos com obras da literatura nacional como Os Sertões de Euclides da Cunha e Grande Sertão: Veredas de João Guimarães Rosa. Posteriormente, abordamos a passagem do sertão literário para a fotografia. Entendemos que a linguagem e o meio fotográfico, por suas características singulares, geram imagens do sertão que diferem do sertão descrito nas páginas da literatura nacional. Buscamos então analisar esse sertão no caso das fotografias de Flávio de Barros em Canudos e da obra fotográfica Sertões: Luz & Trevas de Maureen Bisilliat. Desse modo, lançamos a proposta de análise dos cruzamentos entre o sertão literário, a nação e a fotografia documental.
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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Costa, Alan Victor Pimenta de Almeida Pales 1982. "Lugares no avesso do deserto." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251852.
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Orientador: Milton Jose de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Apresento um diálogo imaginal, fotográfico e literário, a partir de paisagens da Serra da Mantiqueira e Belo Horizonte, e do mundo imaginal da literatura e pintura persas, que se interpretam reciprocamente. Estudos, pequisas e criação visual acerca dos lugares do olhar que tocam imagens plásticas e poéticas da Pérsia do século XII, principalmente de Sohravardî e Nezamî, e a arte filmográfica do cineasta Abbas Kiarostami. A pesquisa apresenta-se em três partes: uma composição fotográfica, um texto de criação literária e uma reflexão acadêmica que busca refletir sobre as formas lineares da representação visual da perspectiva renascentista, padrão da nossa educação estética, da fotografia e do cinema, em contraste com a ausência de perspectiva das representações persas em imagens do século XII
Abstract: This is an imaginal, fotographic and literary dialogue created from landscapes of Serra da Mantiqueira and Belo Horizonte, and from Persian literature and paintings, interpretaded reciprocally. Images and texts of Sohravardi and Nezami, and the cinematographic art of Kiarostami, are in the background of the research. This dissertation is presented in three parts: a fotographic composition, a literary text and an academic reflexion
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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McAra, Catriona Fay. "'Some parallels in words and pictures' : Dorothea Tanning and visual intertextuality." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3722/.
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In 1989 the American Surrealist associated painter, sculptor, and writer Dorothea Tanning (1910-2012) suggested an intermedial dimension to her multifaceted œuvre in her essay ‘Some Parallels in Word and Pictures.’ Taking this essay as a critical point of departure, this thesis offers an intertextual theorisation of Tanning’s practice. It concerns the role of narrative in her work, and the way in which she borrows from the histories of art and literature as source materials. The thesis presented here is that Tanning’s work from the context of Surrealism and beyond makes reference to the fairy tales and other, more extensive works of literature which she read in her youth whilst at work in her public library in Galesburg, Illinois, whether implicitly in visual references or explicitly in her works’ titles. Throughout, the library is read as a key source of inspiration. This is true too of the impact which Tanning’s belated visit to the Louvre had on her post-Surrealist stylistic development. Broadly, this thesis aims to rethink the methodologies used to interpret Surrealism, and reunite the literary and visual aspects upon which the Surrealist movement was initially founded. This interdisciplinary approach contributes fresh perspectives by marrying the history of Surrealism with that of the fairy tale, including that of Lewis Carroll, Hans Christian Andersen, and the fairy tale illustrations of Gustave Doré, Maxfield Parrish, Arthur Rackham, and John Tenniel. The anti-fairy tale emerges as useful critical tool in defining the intertext which appears when Surrealism and the fairy tale are paired. The ‘demythologising’ project of Angela Carter is useful to call upon in the articulation of the anti-fairy tale, and her work is easily placed in dialogue with that of Tanning, especially in terms of its feminist leanings. The dialogic, intertextual theories of Mikhail Bakhtin, further developed by Julia Kristeva and Roland Barthes, support this reading of Tanning’s visual narratives. More recently such theories of intertextuality have manifested themselves in the work of Dutch narratologist Mieke Bal who proposes a model of ‘preposterous history’ in order to creatively re-read the relationship between source (or pre-text) and intertext. This research is primarily text-based and devotes long-awaited attention to Tanning’s literary works which are read visually, including her short story ‘Blind Date’ (1943), and her novel 'Abyss' (1977), later reworked and republished as 'Chasm: A Weekend' (2004). I argue that her novel provides textual continuity with her Surrealist visual narratives of the 1940s creating a more cyclical, ‘preposterous’ shape to her career than has previously been acknowledged.
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PRICKETT, DAVID JAMES. "BODY CRISIS, IDENTITY CRISIS: HOMOSEXUALITY AND AESTHETICS IN WILHELMINE- AND WEIMAR GERMANY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053700766.
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Sciacca, Agata Maria. ""Con gli occhi dietro la nuca". Scrittura e memoria visuale nell'opera di Gesualdo Bufalino." Doctoral thesis, Università di Catania, 2014. http://hdl.handle.net/10761/1633.
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La critica bufaliniana ha identificato una indubbia relazione di scrittura letteraria e memoria visuale nell opera di Gesualdo Bufalino. Collocandosi in questa direzione di studi, questo lavoro ha inteso esplorare, sul doppio canale della fotografia e del cinema, il funzionamento della scrittura del ricordo. Il linguaggio iconico funziona infatti in Bufalino come un commutatore di materiali mnestici dentro il linguaggio scritto. Si è soprattutto trattato di rilevare come il cinema e la fotografia assumano spesso il ruolo di agenti del ricordo, ma siano anche dei codici dai quali la scrittura ricava forme e importa tecniche. Ovviamente tale uso implica l evidenza del carattere finzionale dell operazione memoriale, che questo studio intende non tanto come una ri-costruzione autoriale del passato sulla base di tracce ed evidenze documentarie, quanto come una costruzione narrativa in cui i vuoti del ricordo sono riempiti dall attività immaginativa.
Cinema e fotografia sono sembrati come due poli di uno stesso flusso di influenze della visualità sulla scrittura. Sicché questa lettura, accanto al tema della memoria cui dedica il primo capitolo, ha isolato testi in cui prevale l uno ovvero l altra. La cinefilia dell autore, infine, oltre a fornire un serbatoio immenso di immagini, ha poi mostrato, grazie al ritrovamento di alcuni autografi, un ottima competenza e originalità nell interpretazione dei testi filmici, con peculiare attenzione alle pratiche citazionarie e alle potenzialità espressive del linguaggio indicale.
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Ebert, Sancler. "Fronteiras em discussão : pensando as interações entre ficção e documentário em Diários de motocicleta por meio da intermidialidade." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/7966.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The research aims to think over about the overlaps between fiction and documentary in the film The Motorcycle Diaries (2004) by Walter Salles, using intermediality as method. We will use the intermedial phenomena proposed by Rajewsky (2012) as methodologi cal tools, thinking about intermedial transposition, combination of media and intermedial references. So, it's possible think over what kind of reading instruction is been triggered by the film, from the perspective proposed by Odin (2012): fictivizante or documentarizante. Our interest here is to think how literature transposed into film triggers such statements, relating the use of an open script to the reality of filming and also considering the influences between fiction and documentary related to road movie. We also seek to understand instructions that the film gives to emulate the photo and refer to documentary photography in three black and white sequences and using archival footage in the end credits.
A pesquisa se propõe a refletir sobre as imbricações entre ficção e documentário no filme Diários de motocicleta (2004) do diretor Walter Salles, por meio da intermidialidade. Usaremos os fenômenos intermidiáticos propostos por Rajewsky (2012) como instrumentos metodológicos, pensando a transposição intermidiática, a combinação de mídias e as referências intermidiáticas. Dessa forma, será possível refletir quais instruções de leitura o filme estará acionando, dentro da perspectiva proposta por Odin (2012): fictivizante ou documentarizante. Interessa-nos aqui pensar como a transposição da literatura para o cinema aciona tais instruções, relacionando o uso de um roteiro aberto à realidade das filmagens e pensando também as influências entre ficção e documentário relacionadas ao road movie. Buscamos entender também que instruções o filme dá ao emular a fotografia e referenciar a fotografia documental em três sequências em preto e branco e ao utilizar imagens de arquivo nos créditos finais.
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Niebrzydowski, Sue. "Verry matrymony : representations of the Virgin Mary and her mother, Saint Anne, as wives in medieval England, 1200-1540." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4305/.
Full textAbstract:
This interdisciplinary study of devotional literature, drama and the visual arts examines the representation of Mary and her mother, Saint Anne, as wives in England between 1200 and 1540, and women's responses to these images. The thesis addresses a lacuna in modem Marian and Anne scholarship which has, hitherto, paid little attention to the fact of both saints' representation as wives in this period, and reclaims the meaning, function and reception of these forgotten images. The thesis commences with a synopsis of Marian and Anne devotion up until the central Middle Ages in order that English awareness of Mary and Anne as wives might be contextualised. Chapter Two presents evidence of this awareness; a chronological catalogue of medieval English representations of Mary and Anne as wives, in a variety of media. Chapter Three presents an historical account of the social context of medieval marriage; it examines the legal, social and canonical definition of marriage and demonstrates how this instruction reached the laity for whom it was intended. Chapter Four articulates how the representations of Mary and Anne as wives fitted into both contemporary marital discourse and its social practice. Chapter Five returns to the representations and interrogates their meaning and function, using medieval ars memorativa as the critical tool with which to do so, and demonstrates how real women responded to these images. The thesis concludes that Mary and Anne's wifely status was invoked by some theologians, canon lawyers and clerics to serve as an aide memoire and marital exemplar : of the Church's ideal wedding ceremony and of desired wifely behaviour(s) but that women's responses to these representations were less and other than that which their producers might have intended : generally they were met with silence.
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Rodger, Calum. "From Stonypath to Little Sparta : navigating the work of Ian Hamilton Finlay." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6442/.
Full textAbstract:
The work of Ian Hamilton Finlay spans a fifty-year career, numerous media (many invented by Finlay himself) and thousands of years of Western history. Yet despite its range, it is the product of a singular artistic vision. The object of this thesis is to provide a philosophical and aesthetic framework through which Finlay’s work can be read comprehensively. Centred on the notion of the ‘non-secular’ – a term coined by Finlay in response to bureaucratic, social and artistic antagonisms – it proposes that Finlay’s entire body of work can be read as a project towards realisation of ‘non-secular’ awareness. This comprises, firstly, a longing for an ‘essential’ language and absolute truths, and a respect and reverence for those aspects of culture which strove to, if not discover, then construct and have faith in those truths. It also comprises, secondly and as a consequence, reconciliation with the fact that these absolutes can never be fully realised in the practice of everyday living. This prompts further reconciliation with the limits of our comprehension of the universe and, in the last analysis, our own mortality. This reconciliation is ‘non-secular’ insofar as it does not dispel, but rather emphasises, the notion of a ‘beyond’ inherent to these limits, without defining that ‘beyond’. Using the metaphor of a navigator’s compass, the thesis defines the borders of the ‘non-secular’ through study of Finlay’s work, his correspondence, and his relationship with his contemporaries and critics. It gathers together, develops and responds to previous criticism on Finlay in order to present a unified reading of the poet’s oeuvre which, though it cannot hope to cover every aspect, suggests how his work might best be approached, navigated and read. To this end, the thesis also draws from a number of philosophers working in the continental, hermeneutic tradition, who present ways of thinking the ‘non-secular’ which complement Finlay’s project and, in some cases, directly influence it. As the title would suggest, though the thesis explores Finlay’s work in all media, its locus is Stonypath/Little Sparta, the poet’s family home and magnum opus. Here, the tensions between life and art which give rise to the ‘non-secular’ are at their most palpable. Despite Finlay’s reputation as a visual and plastic artist, this thesis opens with the premise that his work is best approached as poetry, beginning with an extended Introduction which shows how Stonypath/Little Sparta develops from modernist poetry. Coining and defining the term ‘topographical poetics’ to describe Finlay’s site-specific works, it then constructs a formal and methodological approach for reading these ‘poems’. Preliminary discussion of the ‘non-secular’ follows, leading into a four-chapter structure concerned with sketching out the limits of the ‘non-secular compass’. The compass consists of four poles – the Poetic, the Homely, the Modern and the Classical – corresponding to Chapters One through Four respectively. Each pole serves as an absolute point by which to consider the idea of the ‘non-secular’. The exception is the Homely, a pragmatic anchor from which develops the ‘non-secular’ in its reconciliatory aspect and, ultimately, provides the unique foundation for Finlay’s work. This ‘non-secular compass’ is presented as a critical paradigm for reading Finlay. With the work itself, it may also be used as an interpretative tool which opens up to fresh and vital reflections on our comparatively ‘secularised’ existences.
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Kocak, Kenan. "The representation of Middle East identities in comics journalism." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6091/.
Full textAbstract:
The present thesis investigates comics journalism, which is a subsection within the comics medium combining sequential images and journalism, and which has met with popular acclaim in the wake of Joe Sacco’s popularity in the 1990s. Since then, many examples of comics journalism have been published. However, the subject has not been comprehensively studied except for extensive research focusing on Sacco. This study aims to go some way towards filling this gap. This thesis focuses mainly on comics war journalism covering the turmoil in the Middle East and the Israeli-Palestinian conflict by selecting graphic novels by two different authors from divergent backgrounds: Ayşegül Savaşta: Irak Şahini (Ayşegül at War: The Iraqi Falcon) by Kemal Gökhan Gürses from Turkey, and Jerusalem: Chronicles from the Holy City by the Quebecois author Guy Delisle. There are four main chapters in this thesis. The first chapter, ‘Comics Journalism’, analyses this hybrid genre and tries to place it with a theoretical framework. The second chapter, ‘National Identities and Comics Journalism’, discusses how national identities are represented in comics journalism. The third chapter examines Ayşegül Savaşta: Irak Şahini and shows how comics journalism can function as a response to a war. The fourth chapter discusses Jerusalem: Chronicles from the Holy City and explores comics journalism as cultural reportage. This thesis argues that the roots of comics journalism can be found in the Glasgow Looking Glass of 1825. While Joyce Brabner and Lou Ann Merkle together created today’s understanding of comics journalism, Joe Sacco popularized the genre via his coverage of the Palestinian issue and the Bosnian War. Another conclusion is that the September 11 attacks explain the rise of comics journalism, as output related to comics journalism has since blossomed. I will claim that comics journalism functions as an alternative to mainstream journalism and serves to show unreported news. Additionally this thesis will find that stereotypes play a very important role in picturing the relationship between comics and national identities, and will show how Muslim stereotypes have changed in comics, especially in superhero comics, produced after 9/11. This observation leads me to argue that comics journalists, regardless of their backgrounds, use essentially the same stereotypes when they draw Middle Easterners, Arabs especially, although negative Muslim stereotypes are very rare in comics journalism. Since religion and nationalism are undeniably intermingled in the Middle East, the comics journalists studied here employ Islam as a part of their narratives.