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Minks, Marlin. "Strips /." Online version of thesis, 1985. http://hdl.handle.net/1850/10111.
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Radić, Xavier. "Queer reflections on Baron Wilhelm von Gloeden a creative reconsideration of pose, gaze and technique : this exegesis [thesis] is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design in the year 2004 /." Full thesis. Abstract, 2004.
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Murphy, Alexandra Christina. "An exploration into the photo-transformation of the human form, through a research of its contemporary influential imagery and diversity within our culture." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002212.
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The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.
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Camargo, Lucio Martins de 1968. "O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.
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Orientador: Stephane Remy Georges MalysseDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006
Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios
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Lager, Sarah Alexandra. "Le nu métamorphosé." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010637.
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La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensationsTransformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings
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Blin, Sandy. "La série des Distorsions de 1933 : Une parenthèse dans l’œuvre d’André Kertész ?" Thesis, Saint-Etienne, 2012. http://www.theses.fr/2012STET2160.
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Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de créationLess known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic
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Di, Certo Alice. "The Unconventional Photographic Self-Portraits of John Coplans, Carla Williams, and Laura Aguilar." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/4.
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Laura Aguilar, John Coplans, and Carla Williams explore, through photographic self-portraiture, the representation of unconventional bodies. Even though the images produced by these artists are quite different in style, they all reflect an interest in a representation of the nude human body that challenges the traditional concepts of beauty so prevalent in a Western society obsessed with physical perfection. Even though the three artists produced their photographic self-portraits at roughly the same time, using the traditional gelatin silver process and responding to standards of classical beauty, their divergent life experiences, education, and social backgrounds have led them to question an almost universal vision of the perfect body from a broad spectrum of perspectives.
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Saggese, Antonio José. "Imaginando a mulher: Pin-up, da chérette à playmate." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-29012009-150456/.
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Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.
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Chassin, de Kergommeaux C. Danielle. "Autofictional practices : self-fashioning in Diana Thorneycroft's self-portraits." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82695.
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This thesis explores autobiographical practices and their relationship to autofiction, by focusing on practices of identity construction and artistic performance, as well as identity construction through performance. Emphasis is given to the ways gender and sexuality enter into, and shape, these practices by examining, in particular, the way they are expressed in Diana Thorneycroft's photographic performances. Chapter 1 discusses the history and key debates in autobiography theory, the ways gender has been introduced into the analysis of autobiography, and non-literary forms of autobiography. Chapter 1 also briefly discusses the (Western) history of art by women. Chapter 2 examines Thorneycroft's oeuvre and selected responses to it. Chapter 3 presents an analysis of autofictional practices through an examination of Thorneycroft's photographic self-portraits, thereby questioning the distinctions between autobiography and autofiction and suggesting that there is considerable overlap in their definition. The Conclusion briefly discusses agency in relation to autofictional (self-making) practices.
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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.
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Dreuilhe, Jean-François. "La photographie de Lucien Clergue : essai biographique sur les origines de l’oeuvre." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0167/document.
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Cette thèse propose une étude posant les bases et les origines de l’œuvre photographique de Lucien Clergue afin d’en permettre un meilleur positionnement dans l’histoire de la photographie. Une étude et des recherches qui n’avaient jamais été entreprises jusqu’à présent. Les éléments biographiques de la première partie ont été établis à l’aide de documents inédits issus de fonds privés, celui d’André Bernard particulièrement, mis à ma disposition pour étayer ce travail. Ils permettent de couvrir toute l’enfance de Lucien Clergue jusqu’à ces premières photographies. La seconde partie constitue le cœur de la thèse. En m’appuyant sur la production photographique et un très important fonds documentaire, j’établis de quelle manière et avec quels soutiens, particulièrement ceux de Pablo Picasso et Jean Cocteau, une œuvre se construit entre 1953 et 1965 et s’affirme comme esthétique du contre-jour. Ensuite, j’apporte une synthèse de l’évolution de l’œuvre, ses thèmes, ses déclinaisons, sa diffusion, notamment bibliophilique, et les actions transverses de Lucien Clergue ayant favorisé l’émergence de Manitas de Plata, et l’épanouissement de la photographie, en lien avec les Rencontres d’Arles. Les éléments avancés ont été confirmés par récolement ou recherches dans des documents contemporains des faits, ce qui a permis d’en rétablir le cours véritable, certains ayant été dénaturés par de multiples répétitions ou parfois par les qualités de conteur de Lucien Clergue. Cette thèse détermine également la réelle incidence des acteurs directs ou indirects ayant contribué à l’existence de cette œuvre photographique dont l’ossature repose sur une dramaturgie intrinsèqueThis thesis, presents the foudations and origines of the work in pohtography of Lucien Clergue in order to better relate it in the history of photography. An overall study and many researches that have never been done until now. The biographical elements used in the first part have never been published and come solely from private funds, particulary that of André Bernard, they have been available to me to corroborate my work. These elements allow to cover Lucien Clergue’s childhood up to his first photographs. The second part is the heart of the thesis, it is where, by relying on his photographic production and a very broad source base, I am able to establish inwhich manner and with what supports, particulary those of Pablo Picaso and Jean Cocteau, a life’s work is being built between 1953 and 1965 and emerges as the esthetic of the backlit. Then, I bring forward a synthesis of the evolution of the work, its principal recurring themes, its variations, its diffusion mostly bibliophily, as well as other various actions of Lucien Clergue which promoted the uprising of Manitas de Plata, and the blossoming of photography, relying on the « Rencontres Internationales de la photographie d’Arles ».All the elements put forward have been confirmed by retracing or research from contemporary documents of pure facts, which enabled to establish their real occurrence, as some had been relieved of their true nature by multiple repetitions or at times the narrative talent of Lucien Clergue. This thesis also determines the role that each actor played directly or indirectly and contribute to the existence of this photographic work with a blackbone that does rely intrinsically dramaturgy
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Kaufman, Sarah K. "Moments of Absorption." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1133.
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Moments of Absorption explores the conceptual and visual themes that are presented in my MFA thesis exhibition. The research looks into the absorption of the nude subject, the gestures that communicate this absorption, and the domestic space as a stage for the presentation of these gestures. This work investigates a tension between the theatrical and the natural as represented by images.
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Lecaplain, Manon. "« Des corps qu’on offre en spectacle à la foule » ? : Les revues du nu en France, 1902-1914." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLN003.
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Tombant « des hauteurs de l’art dans la boue de l’obscénité » : ainsi sont qualifiées par un membre d’une ligue de vertu en 1912 les revues du nu, premières revues françaises de modèles photographiques de nu (1902-1914). Catalogues de poses à destination des artistes, ces revues sont à l’origine d’un discours académique qui légitime la publication de nus photographiques. Cette justification pourtant leur est âprement contestée et, dans une Europe en quête de moralisation, les revues du nu enchaînent les accusations d’obscénité. Placées au coeur d’un débat entre art et immoralité, elles pâtissent d’une illégitimité culturelle qui leur restera fermement associée. Elles sont pourtant de véritables réflecteurs de mentalités. Recueils de nus majoritairement féminins, le discours qu’elles livrent par l’image comme par le texte relaie les constructions idéologiques qui dominent leur société tout en contribuant peut-être à les former : le langage y est celui d’une domination à la fois masculine, blanche et virile. Les corps sont posés, imposés et exposés par les revues du nu qui en font un produit de consommation charnel, le pilier d’une prostitution visuelle. Ce faisant, les revues du nu sont les actrices d’un érotisme de masse dont la tradition académique, sur laquelle elles appuyaient leur argument, se fait vernis légitimant. Objets d’art et de société, elles sont au coeur d’une histoire des corps et de la sexualité, d’une histoire des représentations et des mentalitésFalling “from the heights of art in the mud of obscenity”: this is how the revues du nu, the first French magazines of nude photographic models (1902-1914), are qualified in 1912 by a member of a morality league. Sold as catalogues of poses for artists, the revues du nu are at the origin of an academic discourse that legitimizes the publication of nude photography. However, this justification is bitterly contested in the era of a Europe in search of moralization, and these publications are therefore subject to accusations of obscenity. Placed at the heart of a debate between art and immorality, the subject suffers from a cultural illegitimacy that will remain, throughout time, associated to them. They are, however, true reflectors of the mentalities of the time. Being collections of predominantly female nudes, the discourse they deliver through both the images and text relays the ideological constructions that dominate their society, while, perhaps, contributing to the latter in shaping them: the language used is one of a masculine, white and virile man. Bodies are posed, imposed and exposed by the revues du nu, turning them into a carnal consumer product, the pillar of a visual prostitution. In doing so, the nude magazines are the actors of a mass eroticism whose academic tradition, on which they based their argument, reaffirms their legitimacy. Objects of art and of society, they are at the heart of a history of bodies and of sexuality, a history of representations and of mentalities
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Stubblefield, Shannon. "The nude female performer." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562505.
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A live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physicality, is a “loud” and often rejected body. The acknowledgement of her authenticity is an acknowledgement of her power and this is common ground on which the female audience member and performer can relate intersubjectively. On the surface, it seems the most effective solution to eliminating objectification and this obstruction of the female body would be to take focus away from her body. Yet paradoxically, female subjects have altered these culturally shaped identity norms of objectification through nude performance, liberating the hyper-sexualized projections attached to the female body and replacing them with symbols of innocence, creativity and power.
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Warncke, Nicole. "Eggplant Emoji." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011844/.
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Eggplant Emoji is a documentary film that reveals a range of feminist perspectives on dick pics, sexting and online sexual harassment. Through intimate and hilarious interviews with women between the ages of 22 and 35, the film harnesses a collective voice that speaks back to the large and small ways patriarchy wields power in modern spaces, especially through sending unsolicited dick pics. By intertwining the testimonies of a dynamic group of female storytellers sitting amongst their close friends, the film provides candid and diverse commentary on this unique moment we are in, where the lines between private and public, online and offline are increasingly blurred. Until there are greater consequences, whether legal, social or otherwise, for men disrespecting women's choices and personal space, the domain of sexting is in a self-policing state and women are left to expend emotional labor to let men know why what they sent is unwanted or violating. Ultimately, the subjects' testimonials coalesce to provide suggestions for respectful, consensual sexting practices and fill in the gaps where sex education often neglects the importance of consent and communication altogether.
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Tolley, Rebecca. "Review of Exposed: The Victorian Nude." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5712.
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Pennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.
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The place for Charles Wheeler’s nudes in Australian art history has not been adequately gauged by art historians. He was one of Australia’s most notable painters of the nude, not perhaps because his vision was particularly inventive or original, but rather because he was an important, conservative conduit of that European tradition. Wheeler was very popular with the buying public over many decades, but success with his nudes was fundamentally a critical one. The positive response to Wheeler’s nudes, paintings which combined elements of the academic tradition and more fashionable conventions, presents an intriguing reflection on the nature of art criticism in Australia. The style of Wheeler’s discourse is indebted not only to late nineteenth century British models, as it was represented in the writings of critics such as R.A.M. Stevenson, who was primarily concerned with technique, but also to current debates about art and morality. One of the determining characteristics of this discourse was an interest in defining the limits between naked and nude. Critics were particularly concerned to protect the nude as a genre against moral attack by refusing to engage in a discussion of its sensual aspects. While the public was keen to debate the moral problems associated with the nude, the critics were anxious to avoid these issues. They felt that questions of morality were not central to artistic merit, and sensed that by engaging in discussion of this kind, the nude was on danger of being brought into disrepute.
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Smith, Alison. "The nude in Victorian painting : 1850-1885." Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297081.
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Wyatt, Malinda. "William Rimmer's Concept of the Heroic Male Nude." VCU Scholars Compass, 1986. http://hdl.handle.net/10156/1443.
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Blount, Jennifer Lynn. "The black male nude a study of John Singer Sargent's Thomas McKeller nude within the context of nineteenth-century art and culture /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/blount.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2009.Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).
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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).
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Smither, Devon. "Identity crisis : the nude in 1930s modern Canadian art." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27693.
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In their unwillingness to fully assimilate or relate the human body to its surroundings, many artists who painted nudes in the 1930s in Canada found their works the subject of censure and moral debate. Rather than becoming the site of praise for a new Canadian sensibility in the visual arts, the nudes painted in this period would not come to be associated with a uniquely Canadian artistic practice, and the genre failed to assume a pivotal place within the canon of Canadian art history. Viewers could not imagine themselves as heroic pioneers in front of a painting like Lilias Torrance Newton’s Nude (1933), or could they see anything distinctly modern and revolutionary in its execution that would allow them to hold up such an image as an example of an inherently Canadian art. The nude in Canada did not incite the admiration of an art-going public who instead came to associate a national art movement with the landscape paintings of the Group of Seven. Censored, debated, praised, and criticized, the nude genre ultimately failed to have the same impact as landscape painting on the visual arts in Canada.
Landscape painting was able to mediate the relationship between the natural world and its human inhabitants in a way not offered by the nude or figurative painting. In 1916, Saturday Night magazine published an article jocularly recounting how the typical Canadian artist was a “husky beggar” who pulled on a pair of Strathcona boots and set off into the woods with a rifle, a paddle, and enough baked beans for three months. Such assertions would lead a critic like Barker Fairley to complain later that, “[N]ot one Canadian in a hundred goes into an art gallery looking for anything but hills and trees and lakes and clouds and flowers and fruit.” Ultimately, the nude was not able to provide a collective viewing position that could embody a national sentiment. It was unable to penetrate the Canadian consciousness in a way that would win it a place alongside the rolling topography and pristine lakes of the Group of Seven.
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Bernardo, Carina Susana Diogo. "Establishment of direct bladder cancer xenografts in nude mice." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7249.
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Mestrado em Biomedicina MolecularA cistectomia radical e o tratamento standard do carcinoma urotelial invasivo da bexiga, contudo, cerca de metade dos paciente apresentam recidivas ap os a cirurgia e necessidade de quimioterapia sist emica. Pacientes com tumores invasivos da bexiga com caracter sticas id^enticas apresentam varia c~oes signi cativas na evolu c~ao natural da doen ca e resposta ao tratamento, re ectindo a composi c~ao heterog enea do tumor e a necessidade de uma tratamento personalizado. A avalia c~ao pr evia da sensibilidade do tumor a quimioterapia e especialmente importante e justi c avel em pacientes com elevado risco de apresentar resist^encia ao tratamento. Neste projecto, este risco e avaliado atrav es da an alise da express~ao de marcadores moleculares tais como o CD147, previamente associado a mau progn ostico e resist^encia a cisplatina. O principal objectivo deste projecto era estabelecer um modelo directo de carcinoma urotelial invasivo da bexiga humano atrav es de xenotransplante em ratinhos imunode cientes, caracterizar o modelo e avaliar a sua viabilidade como plataforma para o estudo da sensibilidade e resist^ encia dos tumores a quimioterapia. Um dos 9 fragmentos transplantados cresceu como implante prim ario nos ratinhos, tendo sido transferido com sucesso para novos animais, onde desenvolveu tumor em 2 dos 3 animais transplantados. A an alise histol ogica e immuno-histoqu mica (CD147, p53, p63, ki-67 e CK20) do xenotransplante, mostrou haver preserva c~ao da morfologia e fen otipo do tumor prim ario, pelo menos durante o estabelecimento do xenotransplante. Estes resultados preliminares suportam o valor deste modelo para ensaios com f armacos, por em, s~ao necess arios estudos adicionais para validar o modelo e determinar o per l dos pacientes que podem bene- ciar desta abordagem.
Radical cystectomy is a standard treatment for invasive bladder cancer, however, approximately half of the patients have disease recurrence after surgery and require systemic chemotherapy. Signi cant variations in the natural history and responses to treatment of patients with invasive bladder cancer are seen between tumors with identical features, re ecting the heterogeneity of the constituent tumor cells and the necessity of a personalized management approach. The assessment of tumor sensitivity to chemotherapeutic drugs is especially important and justi able for patients with higher risk of showing drug resistance. In this project this risk was evaluated through the expression of molecular markers, such as CD147, that have been associated with poor outcome and cisplatin resistance. With this project we aimed to establish an urothelial cancer xenograft model in nude mice from a sample of invasive urothelial carcinoma, characterize it, and assess the feasibility of this model for chemotherapy sensitivity and resistance testing. 1 of 9 specimens has grown as primary implant in nude mice and the xenograft generated was successfully transfered to other mice with a take rate of 2 in 3. Histologic and immunohistochemical (CD147,p53, p63, ki-67 and CK20) analysis showed that xenografts retain the morphology and phenotype of the original tumor, at least during xenograft establishment. These preliminary results supports the value of this model for drug testing, however future studies are required to validate the model and determine the pro le of the patients that may bene t for this approach.
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Passini, Vanessa. ""Unsex Me Here...:" Looking at Gender in Nude Performance." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1794.
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"Unsex Me Here…" is an examination of our bodies, what they mean in terms of gender and power, and why they mean what they do. Plucked from Lady Macbeth’s infamous soliloquy, the title suggests the stripping away of something essential that transforms. Sex is not the right word, but gender is. Often, these two are mistaken and interchanged. Myths that support our social structure exist at the intersection of sex and gender. In this production, I collaborated with Pete Guither of the Living Canvas to challenge notions of gender in different textual mediums (via the written text of Shakespeare’s "Macbeth" and the text of the body itself) ultimately moving towards a space in which greater body understanding and acceptance exists. Our goal was a theatrical event that was both artistically beautiful and transformational not only for the artists involved in the process of making the piece but the audience as well.
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De, Lorenzo Nicholas. "Photography Post-Photography: Materiality of the Photograph." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16303.
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This exegesis examines the theoretical framework and artistic context of my studio practice. The primary focus of the work is on the materiality of the photograph. Through alchemical experimentations and abstractions, the work contemplates the question what is photography? in the complex context of a post-photographic world. While not attempting to answer such an elusive question, this paper seeks to investigate some of the relevant ideas and evaluate how they manifest in contemporary practice. I will use this exegesis as a means of recording an exploration of the mediums recent history, as the context and general area of thought from which my own practice has emerged. As such, Chapter One looks into the discourse around the notion of ‘post-photography’, where it has come from, what it involves and why it could be considered significant. Chapter Two looks at how these ideas are manifested in contemporary photography, with a particular focus on the materiality of photographs, as well as on the roll of abstraction and experimentation in photography. Chapter Three then introduces my own practice in relation to these ideas. While my work and this paper broadly revolve around the position of photography in its current context, the intent of this exegesis is to further inform and ground my studio practice. By establishing and exploring this theoretical context, I hope to identify my work's position in –and possible contribution to–the field.
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Goodarce, Jessica. "Looking at the body." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/11454.
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This thesis explores the role of the body in contemporary art and how it is perceived in society. My research encompasses the art forms of painting, photography, fashion, performance, film, sculpture and installation. The body becomes the canvas, whether it is physically constructed in oils or cut-up, to transform into a Botticelli goddess. Painting, performance, film, video and photography all document the body’s transformation into an artificial, mechanical entity of the digital world. In contemporary art, the model can be by–passed. The artist can digitally construct the body/the subject for the painting. A photograph can be taken of a painting after it has been completed to become a digital painting. This digital work depicts the iconic, artificial body of contemporary society. The body is just as relevant in contemporary art as it was during the Classical Greek and Roman periods. However due to the power of fashion, film, theatre and television the body has become a commodity. The multi–faceted renderings show the body as the subject, the object and the viewer. Today’s body represents society’s fixation with aesthetic excess. Digital media swamps pop culture with products and gadgets to assist our fixation with perfection. The contemporary, beautiful body is not only female. The male body is also under pressure to conform. Many of the artists discussed in this paper for example; Orlan, Vanessa Beecroft and John Currin, are revealing the contemporary obsession with digital transformation. Each work explores the relationships between the artist, the subject and viewer, the private and public space, reality and fiction. As technology advances, these relationships edge closer and their boundaries disintegrate, as can be seen in the work of Matthew Barney, Hans Scheirl and Genesis Breyer P–Orridge. These artists question the boundaries of gender. Ron Mueck explores hyper–reality in his depictions of the body through the use of scale. When viewing these works the spectator begins to question the borders between reality and artifice. The viewing puts into question our own body. Forensic and reality television, the internet and social networking are simultaneously breaking down and blurring the distances between the private and public space. As a contemporary artist interested in painting and the body, my work is influenced by all the artists studied. Although my work is primarily based on painting and photography, for my practice to remain relevant it must be informed by other mediums to exist within the contemporary digital world. Photography, fashion, performance, sculpture, installation, film and painting are no longer rigid disciplines. The body has, always and remains an integral part of these genres. As Orlan says: “This is my body…This is my software…” In this digital age we can design our own bodies into artificial, idealised creations. Hans Scheirl and Genesis Breyer P–Orridge provide the platform for the freeing of the constraints of sexuality. Their works give the contemporary body freedom to be whatever it chooses to be. We now have a choice to construct our own identity and body through the tools of cosmetic technology. Egon Schiele, Ron Mueck and Julie Rrap’s use of the mirror highlight the dissolving of the private and public space. Through the mirror the body is no longer a private body but a social one. This social body has now become both the Classical Greek ideal and the digital cyborg, the artificial and the real, the male and the female body. Contemporary artists now have far greater freedom to create images of the body that reflect the world around them. They describe the demise of the body as flesh into the body as image.
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Winthrop, Emily. "Allegories of the Modern: The Female Nude in Art Nouveau." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4203.
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Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting.
This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.
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Hallett, Christopher H. "The Roman nude : heroic portrait statuary 200 BC-AD 300 /." Oxford : Oxford university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40979695t.
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McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.
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Thesis (Ph. D.)--North Texas State University, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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Kane, Maureen Kay. "The Restoration of Venus : the Nude, Beauty and Modernist Misogyny." Thesis, Griffith University, 2010. http://hdl.handle.net/10072/367838.
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The title of this project is intended to convey the main thrust of my studio research, in which I articulate a series of female nudes in an Australian landscape. It is also, however, a response to Wendy Steiner’s book, The Exile of Venus: The Rejection of Beauty in 20th-Century Art, which argues that, in many respects, the history of elite art in the twentieth century is one of resistance to the female subject as the symbol of beauty. Steiner traces this resistance to Kant’s theory of the sublime in art, whose effect was to identify feminine beauty with impurity, an identification taken to extremes by avant-garde modernists whose art, in the words of abstract expressionist Barnett Newman, sought “to destroy beauty.” The result was art that, in Steiner’s words, turned the female subject from paragon into “a monster, an animal, an exotic, a prostitute … in the name of purity and civilized values.” I argue that modernism’s quest for purity was actually a quest for truth which took art in two broad directions: a) toward increasing abstraction and minimalism that sought the unadorned pure forms that underpin all art, giving it value; and b) toward the deliberate portrayal of abject ugliness on the assumption that reality was, after all, not beautiful and that truthfulness therefore demanded that we represent it as it was. The first path is not (necessarily) inimical to beauty, but the rejection of beauty by the latter caused not just a rejection of the female form as symbol, but, as Steiner claims, a misogynistic denigration of woman that led to a century of pornography, shock and alienation in work that often provoked anger and outrage.
Although I had commenced my nudes-in-the-landscape project some years before reading Steiner’s work, her analysis offered me an explanation for my own alienation from much of the modern art world, with what seemed to me its repeated and deliberate perversions. It also helped confirm and support my persistent interest, not only in pursuing traditional modes of art practice, but in creating works intended to be beautiful. If the twentieth century proved that art need not be beautiful to be art, it nevertheless did not succeed in expunging the human desire for and responsiveness to beauty, certainly not in the female form which became more blatantly deployed, often in debased form, in popular culture. The challenge for an artist now concerned with beauty and the female nude is to inquire how and whether the undeniable but problematic power of female beauty can any longer be used for artistic purposes.
My research also inevitably raised the question of the place of theory in art. Against the theory-dominated practice of much modern art, I felt the need to defend an older idea (which I felt verified in my personal history) that theory may grow significantly out of the practice as much as the other way around.
The five panels completed for this DVA project are my response to these challenges using the most traditional symbol of beauty, the female nude drawn from life. Indeed the paintings try to make an emphatic point by using multiple nudes integrated into a Queensland rainforest landscape and painted on such a scale as to envelop the viewer. This exegesis expounds this work by explaining first the artist and her artistic trajectory, with both her persistent and developing concerns, and second the means and methods she employed to try to achieve the strong but implicit structure of composition that must support any work that aspires to beauty.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Angioi, Duprez Karine. "La souris nude : un modèle d'études expérimentales des xénogreffes de tissus humains." Nancy 1, 1993. http://www.theses.fr/1993NAN19430.
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Smyrnova, Anna. "Fashion photography." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13164.
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Makotrenko, D. S. "Femto photography." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/33731.
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Harold Edgerton created amazing photo in 1964. He made a picture of the bullet that pierces to an apple with an exposure of just a million of a second. But now, fifteen years later, we can go in a million time faster and see the world not in a million or even a billion, but in a trillion frames per second.
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/33731
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Miller, Larry S., and Norman Marin. "Police Photography." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1455777633.
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Quality photographs of evidence can communicate details about crime scenes that otherwise may go unnoticed, making skilled forensic photographers invaluable assets to modern police departments. For those seeking a current and concise guide to the skills necessary in forensic photography, Police Photography , Seventh Edition, provides both introductory and more advanced information about the techniques of police documentation. Completely updated to include information about the latest equipment and techniques recommended for high-quality digital forensic photography, this new edition thoroughly describes the techniques necessary for documenting a range of crime scenes and types of evidence, including homicides, arson, and vehicle incidents. With additional coverage of topics beyond crime scenes, such as surveillance and identification photography, Police Photography , Seventh Edition is an important resource for students and professionals alike.https://dc.etsu.edu/etsu_books/1060/thumbnail.jpg
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Gavigan, Thomas. "VOLUMETRIC GROWTH MODEL OF HUMAN MEDULLOBLASTOMA IN THE NUDE MOUSE CEREBELLUM." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/133.
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Medulloblastoma is the most common brain tumor in children, accounting for 10-20% of primary central nervous system (CNS) neoplasms and approximately 40% of all posterior fossa tumors. It is a highly invasive embryonal neuroepithelial tumor that typically arises in the cerebellar vermis and has a tendency to disseminate throughout the CNS early in its course. The molecular mechanisms of the disease largely remain uncharacterized, as the clinical treatment is still associated with mortality and severe side effects. The development of a clinically relevant in vivo model is important not only to further understand the disease but also to provide a method with which to test novel therapeutics. This study quantified the volumetric growth of a human medulloblastoma (VC312) in the athymic nude mouse cerebellum using Gd- enhanced T1-weighed MRI scans. Additionally, a medulloblastoma flank tumor model was used to explore the in vivo effect of the oral anti-cancer agent that inhibits Akt activation in the phosphoinositide 3-kinase (PI3K) pathway. In the orthotopic intracerebellar tumor model, perifosine significantly increased the survival of treated mice while qualitatively reducing leptomeningeal dissemination. In the flank model, perifosine effectively suppressed the volumetric growth, decreased activation of the AKT pathway and reduced cellular proliferation in treated mice.
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Kerestedjian, Jean-Jacques. "Traitement de l'infection expérimentale à "Rhodococcus equi" chez la souris nude." Paris 5, 1992. http://www.theses.fr/1992PA05P111.
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Stumpf-Condry, Claudia. "The renaissance of Antinous (1500-1550)." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269970.
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Hacking, Juliet Louise. "Photography personified : art and identity in British photography 1857-1869." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.
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McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.
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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts graduate of the University of Canterbury.
In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show.
The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.
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Chapman, C. J. "The study of T cell tolerance induction in thymus grafted nude mice." Thesis, University of Newcastle Upon Tyne, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383979.
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Laidlaw, Ian James. "Xenograft studies of normal human breast epithelium transplanted to athymic nude mice." Thesis, University of Newcastle Upon Tyne, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321307.
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Demarchez, Michel. "La Régénération de la peau humaine adulte transplantée sur la souris "nude"." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37604379f.
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Tolley, Rebecca. "Review of Curve: The Female Nude Now, by David Ebony & others." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5723.
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Mikuriya, Junko Theresa. "Imitations of photography." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518923.
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Yu, Kit-yee Flora, and 余潔儀. "Postmodernism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.
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譚美兒 and Mei-yee Eve Tam. "Orientalism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4413938X.
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Collingham, Maria. "Photography : locus suspectus." Thesis, De Montfort University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391990.
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Larsen, Jonas. "Performing tourist photography /." Roskilde : Department of Geography and International Development Studies, Roskilde University, 2004. http://hdl.handle.net/1800/788.
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Tam, Mei-yee Eve. "Orientalism and photography." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262099.
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Lin, Chiawen. "Photography and Poetry." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172935.
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Jak se mohou navzájem ovlivnit dvě naprosto odlišná média, jako jsou fotografie a psaní? Tato práce si klade za cíl odpovědět na tuto otázku. Hlavní myšlenkou této práce je určit vztah mezi poezií a fotografií. Pár vybraných fotografií poslouží jako příklady a budou podrobeny rozboru. Práce je rozdělena do pěti kapitol, přičemž první část tvoří Úvod, druhá kapitola podává základní shrnutí obou médií. Třetí kapitola se zabývá rozborem prací japonského fotografa Masaa Yamamota. Čtvrtá kapitola rozebírá několik vybraných příkladů fotografií, které jsou nahlíženy metaforicky. Poslední, pátá kapitola přináší výsledek zkoumání této práce a shrnutí, jak se navzájem ovlivňují poezie a fotografie v dějinách a v tvorbě.