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DeFrancesco, David P. "Identifying Differences Among Male Sex Offenders: Child Molesters Versus Exhibitionists Versus Voyeurs." DigitalCommons@USU, 1992. https://digitalcommons.usu.edu/etd/3503.
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Social histories and testing data were compiled during initial placement assessments of 147 individuals arrested and charged as child molesters, exhibitionists, and voyeurs. These data were statistically analyzed using discriminant analysis and analysis of variance (ANOVA). Child molesters, exhibitionists, and voyeurs were found to differ with regards to history of voyeurism; Minnesota Multiphasic Personality Inventory (MMPI) L scale scores; sexual arousal in response to a violent scenario involving a 12-year-old male, measured via penile plethysmography; and age. Implications of these results are discussed relative to the population sampled and future research.
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Wotypka, Joanne Lee. "Jack Kerouac, Dharma Voyeur." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40020.pdf.
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Rezende, Diego Pereira. "“Voyeur Absoluto”: o olhar e a prótese." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/166.
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Investigação sobre o “olhar” a partir de três deslocamentos teóricos: do retiniano ao conceitual, do Ser ao Haver e do “olhar” ao “voyeur”. O primeiro deslocamento busca o entendimento do flerte entre “olhar” e “imagem” segundo alguns escritores e filósofos do século XX. Isto atrelado à abordagem do processo de criação de determinados fotógrafos cegos ao redor do mundo: Evgen Bavcar, Pete Eckert, Gerardo Nigenda, Rosita McKenzie e do “Seeing with Photography Collective”, além das experiências vendadas do artista mineiro Cao Guimarães. Já o segundo movimento descreve a perspectiva teórica da Nova Psicanálise, criada em 1986, por MD Magno. Articulando, assim, à investigação sobre o “olhar”, algumas concepções da teoria: Haver e não-Haver, Cais Absoluto (termo de Fernando Pessoa), Prótese, Solércia, Mal-estar, Ato Poético e Cinco Impérios (Creodo Antrópico). Para, a partir disso, pensar a referência ao conceito de “indiferenciação” como possibilidade de criação de novas tecnologias visuais no século XXI, que vinculem neurociência, cosmologia, física quântica etc. E, em um terceiro passo, há o deslocamento da concepção do “olhar” para a do “voyeur” – a investidura do “olhante” como Tesão –, baseada na obra de Marcel Duchamp. Logo, a definição buscada aqui de “Voyeur Absoluto” (termo de Evgen Bavcar) é o resultado deste “Parangolé” (como descreve a Nova Psicanálise), da transa obtida nestes deslocamentos. O interesse, portanto, está no percurso, no movimento, no transe, na “indiferenciação” do “olhar” com o desígnio de refletir sobre um “voyeur protético”, análogo à Prótese inicial (abismo originário), que é anterior às oposições que se manifestam no campo do Ser (sujeito e objeto, corpo e mente, visível e invisível, luz e escuridão etc).
Investigation into the “gaze” according to three theoretical movements: from retinal to conceptual, from Being to “Haver” and from “gaze” to “voyeur”. The first movement seeks to understand the relation between “gaze” and “image” according to some writers and philosophers of the 20th century associated with the creation process of blind photographers around the world: Evgen Bavcar, Pete Eckert, Gerardo Nigenda, Rosita McKenzie and Seeing with Photography Collective; and also to the blindfolded experiences of the artist Cao Guimarães. The second movement describes the theoretical perspective of New Psychoanalysis, created by MD Magno in 1986, articulating some conceptions of this theory with the investigation into the “gaze”: Haver and não-Haver, Absolute Quay (Fernando Pessoa’s term), Prosthesis, Artifice, Discontentment, Poetic Act and the Five Empires. The reference to the concept of “undifferentiation” is considered as a basic condition of the creation of the 21st century visual technologies that bind neuroscience, cosmology, quantum physics… In the third movement we have the displacement from “gaze” to voyeur based on Marcel Duchamp’s work. So the definition of “Absolute Voyeur” (Evgen Bavcar’s term) is the result of this “Parangolé” (as described by New Psychoanalysis), i.e., of the transaction of these displacements. The interest is in the trajectory, in the trance, in the “undifferentiation” of “gaze” in order to ponder over the conception of a “prosthetic voyeur” analogous to an “initial Prosthesis” (original abyss) which is previous to the oppositions that take place in the realm of Being (subject and object, body and mind, light and darkness, visible and invisible…).
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Ghandeharian, Minoo. "Une analyse des Gommes, du Voyeur et de la Jalousie." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25408.
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Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Phillips, Whitnee. "Voyeurism deriving sexual gratification through architecture /." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Ashman, Nathan. "James Ellroy : voyeurism, viewing and visual culture." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/813378/.
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James Ellroy is an eccentric and divisive popular novelist. Since the publication of his first novel Brown’s Requiem in 1981, Ellroy’s outré ‘Demon Dog’ persona and his highly stylised, often pornographically voyeuristic and violent crime novels have continued to polarise both public and academic opinion. This study considers Ellroy’s status as an historical novelist, critically evaluating the significance and function of voyeurism in his two collections of epic noir fiction The L.A. Quartet and The Underworld U.S.A. Trilogy. Using a combination of psychoanalysis, postmodern and cultural theory, it argues that Ellroy’s fiction traces the development of the voyeur from a deviant and perverse ‘peeping tom’ into a recognisable, contemporary ‘social type’, a paranoid and obsessive viewer who is a product of the decentred and hallucinatory, ‘cinematic’ world that he inhabits. In particular, it identifies a recurring pattern of ‘ocularcentric crisis’ in Ellroy’s texts, as characters become continually unable to understand or interpret through vision. Alongside a thematic analysis of obsessive watching, this project also suggests that Ellroy’s works - particularly his later novels - are themselves voyeuristic, implicating the reader in these broader narrative patterns of both visual and epistemophilic obsession. While principally a study on Ellroy’s work, this thesis also attempts to situate his texts within the broader contexts of both the contemporary historical novel and our pervasive ‘culture of voyeurism’. This thesis will therefore be of interest not only to Ellroy critics and readers, but also to scholars of both contemporary fiction and contemporary cultural studies.
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Gilchrist, Lauri. ""Aboriginal communities and Social Science research: Voyeurism in transition"." School of Native Human Services, 1997. http://142.51.24.159/dspace/handle/10219/472.
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Examination of the relationship of research to Aboriginal peoples reveals a curious paradox. Volumes of research have generated data and theory on Aboriginal people in Canada, and yet there is little research which Aboriginal peoples have been able to determine themselves.
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Choe, Ae-Young. "La place de l'Inconscient dans l'écriture et la lecture du Voyeur d'Alain Robbe-Grillet." Lille : A.N.R.T, Université de Lille III, 1997. http://dds.crl.edu/CRLdelivery.asp?tid=11993.
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Rioux, Caroline. "Étude de la mise en abyme dans le roman le voyeur d'Alain Robbe-Grillet /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2002. http://theses.uqac.ca.
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Choe, Ae-Young. "La place de l'inconscient dans l'écriture et a lecture du Voyeur d'Alain Robbe-Grillet." Paris 8, 1997. http://www.theses.fr/1997PA081349.
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Cette these vise a eclairer par la lecture psychanalytique d'un recit exem, plaire, ici le voyeur d'alain robbe-grillet, le statut de l'inconscient de l'ecrivain dans son ecriture et le statut de l'inconscient du lecteur dans la lecture. Elle comporte deux grandes parties: les +strategies d'ecriture; et les +effets de lecture;. La premiere partie est ouverte par une etude historienne de la critique deve, loppee autour de robbe-grillet, et notamment du voyeur, pour reintroduire dans son ecriture une dimension de l'inconscient que l'on n'y attend pas. Pour ren, forcer l'importance du facteur inconscient dans la formation de son originalite litteraire, on a examine quelques passages polemiques rassembles dans pour un nouveau roman, auxquels il a fait echo plus tard dans le miroir qui revient. En suivant le double fil de la prospective et de la retrospective, on a degage les motifs inconscients qui l'ont conduit a refuser une +ecriture metaphorique; et a creer une surface fantastique, plate et lisse, pour transposer la maniere meme dont il pressent son univers interieur. De ce point de vue, on s'oppose a l'at, titude qui pretend lire l'inconscient du romancier a travers son oeuvre. Dans la seconde partie, on a effectue une lecture du voyeur en recourant a la methode textanalytique elaboree par jean bellemin-noel. On a concentre l'analyse sur les aspects qui refletent les strategies d'ecriture etablies par le romancier et theorisees par les critiques: une description extremement minutieuse et une texture trouee. Au bout du compte, la construction imaginaire qui se degage de la lecture ne se superpose pas entierement a la structure (quelle qu'elle soit) de l'inconscient du romancier: le sujet de cet espace fantasmatique s'avere etre comme +l'inconscient du texte;, en tant que noyau vide et irrepresentable du recitThis thesis aims at clarifying, through a psychoanalytic reading of an exem, plary literary work, here alain robbe-grillet's le voyeur, the status of the writer's unconscious in his writing and that of the reader's unconscious in his reading. It is made up of two parts: +writing strategies; and +reading effects;. The first part begins with a historical study of the progressive criticism which developed around robbe-grillet, in particular about le voyeur, we wish to stress in his writing an unconscious dimension readers don't expect in it. In order to confirm the importance of the unconscious factor in the forming of his literary originality, we have examined some polemic passages he collected in pour un nouveau roman, and which he revived later in le miroir qui revient. By following the double stream of his thoughts, prospective and retrospective, we have brought out the unconscious motives which led him to reject +metaphorical writing; and to create a fantastic surface making a flat and even imaginary screen, in order to transpose the very way in which he senses the movements of his inner world. From this point of view, we oppose the attitude that one can read the writer's unconscious through his artistic work. In the second part, we have resorted to the textanalytic method devised by jean bellemin-noel, to suggest an interpretation of le voyeur. We concentrated on the aspects which reflect the writing strategies drawn up by the writer and theorized by critics: a highly detailed description and a hollowed out texture. Finally, the imaginary construction which emerges from our reading is not entirely superimposed on the structure (whatever it is) of the writer's unconscious: the subject of this imaginary world turns out to be +the unconscious of the text;, as the empty and irrepresentable nucleus of it
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Manai, Neila. "Poétique du regard dans trois œuvres d’Alain Robbe-Grillet ("Le voyeur", "La jalousie", "Instantanés")." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0013.
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Inutile de rappeler la prééminence du regard dans les oeuvres d’Alain Robbe-Grillet etparticulièrement dans Le Voyeur, La Jalousie et Instantanés qui forment le corpus du présenttravail. En apparence, l’auteur se contente de formuler très objectivement la subjectivitéhumaine. Et voilà que l’oeil de la concupiscence charnelle vient entamer cet ordre parfait,géométrique que l’on aurait cru inaltérable. L’objectif de ce travail est justement de montrerque l’oeil de l’arpenteur géomètre dissimule celui du pervers, à la recherche de la jouissance àtravers le regard.La première partie de ce travail, « Montage du regard », analyse les sujets regardantset les sujets/objets regardés dans leur diversité. La volonté de maintenir la distance entreregardeur et regardé et d’instaurer un regard distant est remise en question par tous lesprocédés textuels confirmant la présence d’une subjectivité qui regarde. Une subjectivité quiregarde, mais qui est aussi perverse. C’est ce que tente de montrer la deuxième partie,« Regard pervers et jouissance ». Il s’agit en fait non seulement d’étudier la présence effectivedu voyeur dans ces trois oeuvres, mais aussi de l’approcher dans sa diversité. La troisièmepartie, « Répétition et jouissance », vient confirmer la présence du voyeur pervers, toujours àla recherche de la jouissance par la ressaisie du spectacle convoité, d’où la présence de figuresobsédantes en leitmotiv.Notre approche sera une pure recherche formelle : analyser le regard, c’est mettre enévidence son fonctionnement textuel, par le moyen de la linguistique et de la stylistique. Ellecontribuera à élaborer une nouvelle lecture du regard chez Robbe-GrilletIt is needless to mention the supremacy of one particular feature in Alain Robbe-Grillet’s works; namely, the look as it is particularly found in Le Voyeur, La Jalousie andInstantanés. These 3 works serve as the corpus for the research at stake. In appearance, andquite objectively, the author seems to be simply expressing human subjectivity. But therecome along eye of lust, altering every perfect geometrical order one could have noticed upuntil now. The goal of this work is to actually unveil the fact that the eye of the surveyor, thegeometer, is only an artifact dissimulating a perverted eye constantly in search of carnalpleasure through the look.The first part of this work, titled “Montage du Regard” ‘The optic setting’, is ananalysis of the observer and of the elements which are observed as diverse as they may be.The will to keep a distance between the observer and the element which a observed isconstantly questioned through the presence of textual elements that clearly reveal asubjectivity in the act of looking at a particular element. A subjectivity that observes, butwhich is also perverted. This is fully analyzed in the second part of the research, “Regardpervers et jouissance” ‘A perverse eye and a sensual pleasure’, which not only analyses theactual presence of the voyeur in the three works mentioned earlier, but also attempts toapproach him and tackle all his diverse aspects. The third part of this study “Répétition etjouissance” ‘Repetition and sensual pleasure’ reaffirms the presence of a perverted observer,always in search for carnal pleasure through the recapture of the coveted show. This furtherexplains the presence of obsessive scenes in a leitmotiv.Our approach in this study is based on a formal analysis of the look. Its goal is tohighlight its textual functioning thanks to linguistic and stylistic means, which will lead theway to a new reading and reconsideration of the look in Robbe-Grillet’s works
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Wixom, Tiffany Nicole. "Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6741.
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Domenichino (1581-1641), a Bolognese artist, painted a unique interpretation of Ovid's myth of the goddess Diana and mortal hunter Actaeon in 1616 titled, Archery Contest of Diana and her Nymphs. This image depicts the goddess and her nymphs actively engaged in various activities. This portrayal is drastically different from common depictions of the time period, in which the goddess is portrayed as vulnerable, weak, and subjected to male voyeurism. In contrast, Domenichino painted his female warriors as physically strong and empowered with their weapons in hand. Compared to the art of his contemporaries, Domenichino's painting clearly evidences that he was influenced and inspired by a well-established, protofeminist artistic tradition originating in Bologna. Bologna offered several contributing factors which created a receptive environment for female artists to thrive. Artists like Lavinia Fontana were able to create strong careers that were both profitable and competitive with those of their male contemporaries. Fontana's depictions of female subjects deliberately pushed against the stereotype of painting heroines as passive objects exposed to male voyeurism. In Archery Contest of Diana and her Nymphs, Domenichino approaches Diana and her nymphs in the same fashion as the Bolognese protofeminists. The women depicted are no longer passive objects to be gazed upon; rather they are actively engaged and have physically fit bodies. Domenichino and the protofeminist tradition redefined how heroines are depicted by empowering the women as dynamic participants in brave pursuits.
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Eaheart, Martha Bass. ""Not an innocent enterprise" the narrator's transition from voyeur to victim in W.G. Sebald's Austerlitz /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3355.
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Thesis (M.A,)--George Mason University, 2008.Vita: p. 45. Thesis director: David Kaufmann. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in English. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 42-44). Also issued in print.
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Araujo, Júnior José Raimundo. "Dos prazeres narcísicos à cena voyeur: performances eróticas e enlace de corpos virtualizados no site Cam4." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/7610.
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In this dissertation we analyse how different gender configurations are activated to build video performances on a webcams integration site. To understand the manufacturing processes of the body-sexed on these virtual interactions, we describe a set of views coloured by a sharped erotic appeal, indicating how certain forms of collective representations emanate strategic view of the body as well as the statements of the audience that dialogues through an instant messaging system. We show that the construction of the performances is related to classification tables that ensure intelligibility to the interactions between different agents, giving rise to symbolic constructs associated with sexual preferences and identity configurations assumed by users. Such processes are analysed from a relationship between gender studies and anthropology of performance, in order to reflect on the collective representations embodied by the body in the universe's spectacular staging erotic, especially regarded to the manufacturing process of symbolic sex from the coercive action of the genre.
Neste trabalho analisamos o modo como diferentes configurações de gênero são acionadas na construção de performances em um site de integração de webcams. Ambicionando compreender os processos de fabricação do corpo-sexuado no palco dessas interações virtuais, descrevemos um conjunto de exibições matizadas por acentuado apelo erótico, sinalizando como determinadas representações coletivas emanam de formas estratégicas de exibição do corpo, bem como dos enunciados da audiência, que dialoga através de um sistema de mensagens instantâneas. Evidenciamos que a construção das performances guarda relação com quadros de classificação que garantem inteligibilidade às interações entre distintos agentes, fazendo emergir construtos simbólicos associados às preferências sexuais e configurações identitárias assumidas pelos usuários. Tais processos são analisados a partir de uma articulação entre os estudos de gênero e a antropologia da performance, com vistas à reflexão sobre as representações coletivas materializadas pelo corpo no universo espetacular da encenação erótica, sobretudo no que diz respeito ao processo de fabricação simbólica do sexo a partir da ação coerciva do gênero.
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Schroeder, Kathleen Mary. "The female voyeur and the possibility of a pornography for women : redefining the gaze of desire." Thesis, University of South Africa, 2000. http://hdl.handle.net/10500/3079.
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Eysel, Caroline. "Voyeuses, voyantes et visionnaires : Farida Belghoul, Nina Bouraoui,Bharati Mukherjee, les révoltées de l'image." Paris 13, 1998. http://www.theses.fr/1998PA131022.
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Des mouvements migratoires qui ont transforme depuis quelques decennies les anciennes puissances coloniales occidentales en terres d'immigration, ont emerge depuis une dizaine d'annees une litterature dite de "la deuxieme generation de l'immigration au sein de laquelle la production feminine est tres importante. Supposant qu'il y a la plus qu'une coincidence, nous montrons comment, chez trois romancieres issues de l'immigration (nina bouraoui et farida belghoul, franco-algeriennes, bharati mukherjee, hindo-americaine), les voix de l'etranger et de la femme s'entrecroisent par les (en)jeux de la double appartenance culturelle. Grace aux outils de la psychanalyse qui nous enseigne que le bonheur n'existe qu'au prix d'une revolte, nous avons identifie les variations d'une ecriture-revolte aufeminin, qui tisse l'itineraire d'un sujet au point de confluence entre le langage, la pensee et la sensation. En suivant cet itineraire en forme de passage, notre objectif etait d'extirper la litterature "issue de la migration" de l'orniere de l'immigration, en analysant le role structural plutot que thematique de l'experience migratoire dans l'ecriture. Nous avons defini la migrance comme retour sur la memoire individuelle et culturelle de la femme, ce retour etant la condition necessaire a la transformation : l'ecriture-revolte au feminin raconte un retour/liberation visualise puis visibilise a travers un acte-trace qui constitue un nouveau commencement. Ce retour sur l'interdit feminin questionne et transgresse cet interdit au lieu meme de son origine. Nos auteurs temoignant d'une certaine mefiance envers le mot, souvent traitre, et d'une plus grande confiance en l'image, notre analyse s'est deployee sur trois niveaux dont l'intrication trame l'epaisseur de l'ecriture et des personnages qu'elle compose : axe du mot-image, axe des materiaux semiotisables, axe de l'espace-temps, carrefour ou se negocie la place du sujet c'est-adire son espace dans le temps.
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Young, Jo Anne. "Animal viewing in postmodern America a case study of the Yellowstone wolf watchers /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/young/YoungJ0507.pdf.
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Roussel-Meyer, Maryse. "La fragmentation dans le roman : "Rigodon" de Louis Ferdinand Céline, "Le voyeur" d'Alain Robbe-Grillet, "Graal Flibuste" de Robert Pinguet." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30013.
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Le choix de l’écriture fragmentaire dans le roman peut se concevoir comme une force de désintégration du genre. Ainsi ont œuvré les trois auteurs choisis : Pinget avec Graal Flibuste, roman en forme de fragments, Robbe-Grillet avec Le Voyeur, récit troué d’ellipses, et Céline, morcelant la syntaxe à la limite de la lisibilité dans Rigodon. Les ambitions de la fragmentation rassemblent les trois auteurs dans leur volonté de démontage d’une intrigue romanesque et dans celle d’un brouillage générique. On a tout d’abord examiné l’usage de la description comme effet de fragmentation. Chez Pinget et Robbe-Grillet, un parti pris descriptif contribue à la perte de l’intrigue, du temps et du personnage en tant que représentation du sujet. Chez Céline, le discours disloqué absorbe tout récit, dans un désir de rythme apte à rendre compte d’une incohérence du monde. On a considéré ensuite la fragmentation dans son effet musicien : grâce au jeu des variations, les écritures de Robbe-Grillet et Céline peuvent relever d’une esthétique de la fugue ; par sa technique de montage, la structure du roman de Pinget peut rappeler la composition d’une sonate. Enfin, en démystifiant les qualités du roman classique, l’ironie de la fragmentation, dans sa stratégie elliptique, sollicite l’active participation du lecteur. En faisant preuve d’exigence fragmentaire sous diverses formes, ces auteurs ont donné à leur écriture l’allure et la pugnacité d’un défi, mettant en cause la notion même de catégorie littéraire. Résistant à la tentation de la totalité, la fragmentation qu’ils instruisent dans leurs récits, élabore d’elle-même l’idée très moderne d’un roman transgénérique.
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Thomson, Alexis 1863-1924. "Voyeurism and reading : narrative strategy in Anthony Powell's A Dance to the music to time." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60579.
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This thesis will argue that Anthony Powell's A Dance to the Music of Time is a work that can tell us much about our reading process. Powell uses a homodiegetic narrator to tell the stories of a vast array of characters over a large span of time. This narrator, Nicholas Jenkins, is, in the non-sexual sense of the word, voyeuristic. He watches and remembers the actions of others while only participating minimally. Widmerpool, the only other character to appear in all twelve volumes, is a voyeur in the sexual sense of the word. The defining feature of voyeurism is its fundamental asymmetry: the voyeur watches whilst remaining hidden and unseen. It will be argued that the reader is also involved in acts of voyeurism due to his/her asymmetrical relationship with the text. Although this equation of voyeurism and reading may seem to contradict recent reader-response critics, it will be argued that voyeurism is an apt description for the primary stage of reading.
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Grimm, Rachel Mihuta. "L'Enjeu du jeu: L'Identité comme performance dans La Voyeuse interdite et Garçon manqué de Nina Bouraoui." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340130803.
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von, Bahder Felix. "Att göra slut med sig själv : En studie i de socialpsykologiska aspekterna förknippade med ett uppbrott från Facebook." Thesis, Uppsala universitet, Sociologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175311.
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Facebook är ett internetbaserat socialt nätverk och tillika en mötesplats för nästan en miljard människor världen över. Nyligen introducerades företaget på den amerikanska Nasdaq-börsen och det skulle komma att bli en av de högst värderade börsnoteringarna någonsin. Förväntningarna på Facebook är enorma, men samtidigt hörs kritiska röster om hur aktieägarnas förväntningar på ekonomisk avkastning kommer tillfredsställas på bekostnad av användarnas integritet detta skulle i förlängningen skapa missnöje. Det är onekligen en imponerande framgångssaga men i takt med ökande närvaro på internet i allmänhet och Facebook i synnerhet framstår det också som ett socialt fenomen värt att studera. Det är en plats där miljontals människor interagerar dagligen, men man kan fråga sig vari lockelsen ligger med Facebook och vilka biverkningar som tillkommer. Det är en intressant fråga att ställa sig huruvida det finns skäl att bryta upp med sin facebookprofil och vad som händer sedan. Den här studien har som ansats att närma sig fenomenet Facebook genom att lyssna till dess avhoppare. Det är en kvalitativ analys av unga vuxna i Sverige som alla vid någon punkt frivilligt lämnat Facebook och det är en studie – helt unik i sitt slag.Facebook is an Internet based social network as well as a meeting-place for almost a billion people all around the world. Recently the company went public on Nasdaq and it would revile itself to be one of the highest valued introductions the stock market has ever seen. The expectations on Facebook are enormous, yet Facebook is receiving harsh criticism for risking the integrity and satisfaction of its users to please the shareholders demand for return on investment. It is certainly an impressing success story but as we spend an increasing part of our time on the Internet and particularly on Facebook it seems to be a social phenomena worth studying. It is a meeting place where millions of people interact on a daily basis and the question arises of wherein the Facebook lure lies, and whether there might be any side effects to it. Questions regarding whether there could be any reason to break up with ones Facebook are at the centre of this study as well as the question of what happens after dropping out? The aim of this study is to tune in to the stories of young adult users in Sweden who have, at one point or another, chosen to drop out in order to further deepen our understanding of Facebook. It is a study, first of its kind.
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Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.
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Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
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Polley, Kerry A. "Ceci n'est pas un film visual perception in Michael Haneke's 'Caché' /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1250228246.
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Cleaver, Dreama D. Cleaver. "Breaking the Fourth Wall: A Study of Gender Fluidity Using Immersive Storytelling as a Medium for Evoking Empathy." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu153173611895785.
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Barbotte, Muriel. "Charles-François Longin (1708-1791), architecte et contrôleur-voyer de la ville de Besançon." Besançon, 1985. http://www.theses.fr/1985BESA1011.
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Ibrahim, Enas. "L'évolution de la notion d'objet dans les romans d'Alain Robbe-Grillet : Les Gommes, le Voyeur, La Jalousie, Dans le Labyrinthe, La Maison de Rendez-vous et Djinn." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2020.
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Cette thèse a pour objectif d’étudier la présence et l'évolution des objets dans plusieurs romans d’Alain Robbe-Grillet : Les Gommes, Le Voyeur, La Jalousie, Dans Le Labyrinthe, La Maison de Rendez-vous et Djinn. Bien qu’ils soient partout dans l’œuvre, les objets de Robbe-Grillet n’ont encore jamais été étudiés de manière spécifique, détaillée, et à partir d’un large corpus. L’approche de notre travail est littéraire mais aussi sociologique. Il convient en effet de redonner aux objets la place qu’ils occupent dans les relations humaines. C'est à la lumière des recherches d’Abraham A. Moles, Jean Baudrillard, Bernard Blandin, entre autres, que nous avons choisi de nous pencher sur les rapports qui lient l'homme aux objets. Au terme de cette exploration, nous arriverons à la conclusion suivante : les objets robbe-grillétiens sont tantôt muets et opaques, tantôt parlants. Cet effet est pleinement manifesté dans les techniques descriptives qu'adopte le romancierThis thesis aims at investigating the presence and the evolution of objects in several novels by Alain Robbe-Grillet: Les Gommes, Le Voyeur, La Jalousie, Dans le Labyrinthe, La Maison de Rendez-vous and Djinn. Although that objects have an evident existence in Robbe-Grillet’s work, they have never been studied specifically, in details, and from a large corpus. The approach of our work is literary but it is also sociological. It is suitable to give objects the statute they occupy in human relations. In the light of the research of Abraham A. Moles, Jean Baudrillard, Bernard Blandin, among others, we have chosen to dwell on the relations that link humans to objects. After this “exploration”, we reach the following conclusion: the objects are sometimes mute and opaque, sometimes talking. These characteristics are obvious in the description techniques which the novelist uses
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Arlauskaitė, Dainora. "Vojerizmas fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110802_143304-44757.
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Kūnas įvairių mokslo šakų tyrinėjimo objektas, sunku apsiriboti ties viena sritimi ar pripaţinti tik vieną sritį kaip teisingiausią kūno suvokimui. Bet kokiu atveju ţmogus savo kūną paţysta bei formuoja per aplinka. Fotografiją taip pat yra įvaizdţio formavimo priemonė. Pati fotografija ne tik formuoja įvaizdį, bet ir formuoją patį ţmogaus poreikį vaizdiniui ir kitokį ţvilgsnį į aplinką. Diplominiame darbe nagrinėju vojerizmą, jo ryšį su fotografija. Stengiuosi surasti momentą kada paprastas ţvilgsnis tampa vojeristiniu ţiūrėjimu, ar tiesiog vojerizmas yra netskiriamas dalykas nuo fotografijos. Analizuoju vojerizmo teoriją, kaip vojerizmas atsiskleidţia fotografijoje. Nagrinėju kūno samprata, nuogą kūną fotografijoje, erotinę fotografiją, akto fotografiją Lietuvoje. Atlikdama savo uţdavinius, analizuodama literatūrą ir prototipus, siekiu uţsibrėţto tikslo, sukurti stereografijų ciklą, kuriame atsispindėtų diplominiame darbe nagrinėjami aspektai. Diplominiame darbe taip nagrinėju stereografijos sąvoka, kuri siejasi su vojerizmo ištakomis fotografijoje ir mano stereografijų ciklu. Stereografija- diplominio darbo, praktinės dalies pateikimo forma.The body is exploration object in the vorius science discipline, it would be difficult to confine by one discipline or recognize only one discipline as the farest for body knowing. In any case human knows his body and formed whitin the enviroment. The photography as a discipline is also body formating tool. Photography itself is not only shaped the image, but also formating a requirement for the image and different gaze to enviroment. I‘m analyzed voyeur in photography, it‘s connection whit photography. Trying to find a moment when a simple looking bicome voyeuristic gaze or maby voyeurism is the main part in photography. I analyzed voyeur theory, how voyeurism reveals in photography. Describing body as a concept, naked body in photography, erotic photography, nude photography in Lithuania. Doing my tasks, analyzing literature and prototipes, try to achiev the main target, to create a stereography cycle in which reflected dealing aspects. I‘m Analyzed steregraphy concept, which pertain whit voyeurism orgins in photography and my stereography cycle. Stereography is submission form of the practical part.
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Rashidi, Bahareh. "Divided screen : the doppelgänger in German silent film." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/6578.
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The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar Germany raises the question of its historical significance, in particular during Germany’s “crisis of classical modernity”. While previous studies have addressed the double from a narrative perspective, focusing on its psychological significations as divided self, this thesis instead considers the theme from a structural and historical perspective: how, as a technical reproduction of the human body that is ontologically double, at once real and unreal, it serves as a site for reflection on the visual experience of modernity and on the medium of cinema. The thesis begins by considering the relationship between the theme of the double, born circa 1800, and the burgeoning visual regimes of modernity. Important aspects of this relationship are the abstraction of representation from stable referents in the aftermath of Kantian thought, the empirical study of the observing subject, and the development of new technologies of recording and projection. Nineteenth-century technologies of optical illusion, such as the phantasmagoria and lifelike automata, as well as the itinerant showmen who displayed them, gave rise to doubles of the human body with uncanny effects of ontological uncertainty. These not only influenced the doppelgänger stories of German Romanticism and after, but also were ancestors of cinema’s doubles and their showmen. This study considers the “cinematic” themes of a set of stories and films of the double, including repeatedly performed scenarios of exhibition and voyeurism, visual pleasure and anxiety, foregroundings of the narration, and allusions to the history of cinema and media technologies. The central chapters of the thesis offer readings of five classics of German film: The Student of Prague (1913), The Cabinet of Doctor Caligari (1920), The Golem: How He Came into the World (1920), Waxworks (1924), and Metropolis (1926). Addressing the double as a reflexive theme of optical uncertainty, these readings focus on how moments of optical distress are depicted and how film language is used to construct a cinematic uncanny: an ontological problem arising from the ambivalent character of visual experience that affects the narrative and film form, characters and spectator alike. This perspective sheds light on the historical significance of the double theme, revealing its close relationship with the problematic status of vision and the observing subject in modernity, and with a special case of modern visual experience, the technological medium of cinema.
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Crum, Susanna Garts. "The heart of the park." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2847.
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The Heart of the Park works to expose, preserve, and interpret the many layers of social history, fact, and fiction within Iowa City's City Park. This exhibition is a result of archival research, interviews, and on-site investigation. As a guide, I followed the path of Enoch Emery, a park-haunting voyeur featured in Flannery O'Connor's first novel, Wise Blood, which she wrote after graduating from the Iowa Writers' Workshop. Details of O'Connor's fictional version of City Park, in Chapter 5 of Wise Blood, as well as Enoch's relationship with the park, led to further discoveries regarding the park's history, and ultimately, a reinterpretation of these seemingly disparate layers of fact and fiction. While the contemporary archive claims depoliticized and anonymous reasons and methods for preservation, my hybrid practice creates a role for the subjective, idiosyncratic archivist, who suffuses factual research with myth-making. The Heart of the Park is one glimpse into an ongoing collection of interpreted sites, in which I attempt to prevent the loss of local histories, and enact the inevitable chain of reinterpretations of site.
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Bienvenu, Gilles. "De l'architecte voyer à l'ingénieur en chef des services techniques : les services d'architecture et d'urbanisme de la ville de Nantes du XVIIIe siècle au XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010607/document.
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Production collective, la ville est notamment produite par des professionnels identifiés qui élaborent des outils et mettent en œuvre des processus. Sur un temps long - du XVIIIe siècle au milieu du XXe siècle - et sur un territoire d'étude singulier -la ville de Nantes, exemplaire par la richesse des situations expérimentées au cours de la période -le questionnement sur la fabrique de la ville parcourt deux axes: d'une part l'étude de l'organisation des services municipaux chargés de l'élaboration des projets et de la conduite des transformations urbaines, en termes de voirie, d'architecture, de réseaux et d'urbanisme, et d'autre part celle des personnalités qui constituent ces services, notamment les chefs de service, architectes, ingénieurs, urbanistes, et leurs collaborateurs immédiats. L'échelle de Nantes, une ville en croissance et en mutation, d'une dimension encore modérée en superficie et en population dans la période considérée, permet de saisir des enjeux globaux dans l'exploration des outils qui ont accompagné les transformations urbaines, les ont rendues possibles ou en ont rendu compte, en termes de réglementation, de planification, de projetation, d'exécution, de contrôle, à l'articulation du technique et du politiqueA town is a collective process, but it is also produced by specific professionals who conceived tools and apply process. Analyzing a long period ( from the 18th century to the middle of the 20th) and focused on a special area « the city of Nantes », an interesting example for this period, the case study follows two directions : the organization of the municipal services in charge of project development and the management for urban transformation, in terms of roads, architecture, networks, town planning, and at the same time the people who make up these services, particularly chiefs department, architects, engineers, town planners and their staff. The scale of Nantes, a growing city with a population and a size increasing at a moderate pace, allows understanding stakes by exploring the process of urban developments in terms of regulation, project planning, management, achievement and control, and the links between technical tools and politic aims
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Cook, Peter Laurence. "Les voyes de douceur et d'insinuation: French-Amerindian policy on New France's western frontier, 1703-1725." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6616.
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During the term of Philippe de Rigaud de Vaudreuil as governor of New France (1703-1725), diplomacy involving the French and the Amerindian nations to the west of Montreal was conducted in accordance with diplomatic protocols of Amerindian origin. Diplomatic relations between the Amerindians and the French were predicated on the basis of a fictive kinship relationship, wherein the French governor assumed the Amerindian title Onontio and the role of a "father" to his Amerindian "children." The forum for formal intercultural encounters was the council, an Amerindian institution that consisted of a structured dialogue between two parties, punctuated by the exchange of validating gifts. The diplomatic culture of the French made few inroads into the intercultural diplomacy of the period. Neither the Amerindian nor the French diplomats of the period acted as comprehensive cultural mediators during diplomatic encounters. Vaudreuil's corps of diplomatic agents was largely made up of military officers, seconded by interpreters. All of these agents were ethnic Frenchmen, although many interpreters benefited from intermarriage with synethnic and Amerindian women. Few agents cultivated long-term ties with Amerindian groups, or mastered Amerindian languages; those that did were to be found in the lower ranks of colonial society. In general, French agents were primarily interested in exploiting diplomatic ties with Amerindians in order to advance both French interests and their personal careers. French diplomatic agents adopted and learned to manipulate selected Amerindian diplomatic protocols in order to fulfill these goals. Although the French made extensive cultural adaptations in the realm of diplomacy, their motives were pragmatic, and their acculturation limited. The value and meaning with which they invested these alien diplomatic institutions were different form those the Amerindians accorded to the same forms. (Abstract shortened by UMI.)
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Blomac, Nicole de. "Le cheval, moyen et mode vie : l'œuvre du marquis de Voyer, militaire, philosophe et entrepreneur, (1722-1782)." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0007.
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Kilic, Adam. "Fetishism and Displacement in John Fante's The Road to Los Angeles." Thesis, Stockholms universitet, Engelska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78304.
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The Road to Los Angeles, the first novel written by Italian-American author John Fante, is most often recognized as a tale concerned with Italian-American alienation, xenophobia and existence on the periphery of mainstream society. This essay, however, aims to analyze the novel from the viewpoint of fetishism. Fetishism, a motif that constitutes a vast theoretical field in itself, will be analyzed using the lens of Freudian theory and more recent works by critics such as Louise J. Kaplan and Johanna Malt. While fetishism unproblematically can be defined as the misdirection of libidinal energy, and the objectification of a sexual object’s seductive powers, this essay also aims to throw light on the intricate nature and general applicability of fetishism. Fante depicts fetishism as essentially oxymoronic in its presence-absence duality, as instrumental in animating the inanimate and dehumanizing the sexual object. Fetishism, which in many ways shares an affinity with scopophilia and voyeurism, is essentially semiotic and instrumental in projecting the will onto the external world. Moreover, read through the lens of the inherent death drive, as theorized by Sigmund Freud, manifestations of brutal violence and self-torture are seen as direct counterparts to fetishism.
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Wilson, Laura. "Physical spectatorship and the mutilation film." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.
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This thesis explores what I call 'physical spectatorship' as it is generated by a group of films concerned with the mutilation of the human body. Focusing on the representation of mutilation on the screen and the physical responses this evokes, the thesis is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship; these include: corporeal mimicry and the cinematic visualisations of mutilation; generalised anxiety and experimental use of sound; and the nausea generated by audio-visual techniques that both signify and locate the filmic gut in the viewer's body. Combining close textual analyses with theoretical approaches, this thesis draws upon psychoanalytic, phenomenological and feminist theories of film and spectatorship. Throughout the chapters, my argument builds upon the work of Vivian Sobchack and Laura Marks in order to interrogate further what might be meant by the notion of the embodied spectator. The chapters explore this notion, alongside that of the film viewer, to generate a dialogue with previous theorists of the cinematic spectator, including Christian Metz and Richard Rushton. Exploring through close textual analyses the specific filmic techniques that generate intense physical responses, this thesis argues that the mutilation film demands a rethinking of some of the key categories in theories of spectatorship. Extending across national cinemas and reaching beyond conventional generic distinctions, the mutilation film produces a visceral aesthetic that has yet to be analysed. Focusing on particular aspects of the mutilation film, such as the assault narrative sequence, use of extreme frequencies and haptic sounds and images, the thesis offers detailed readings of the following texts: Dans Ma Peau (Marina de Van, 2002), Irréversible (Gaspar Noé, 2002), Saw II (Darren Lynn Bousman, 2005) Saw III (Darren Lynn Bousman, 2006) Saw IV (Darren Lynn Bousman, 2007) Saw V (David Hackl, 2008) Saw VI (Kevin Greutert, 2009) Saw 3D (Kevin Greutert, 2010), Hostel (Eli Roth, 2005), À l'intérieur (Alexandre Bustillo and Julien Maury, 2007), The Human Centipede: First Sequence (Tom Six, 2009) and The Human Centipede: Full Sequence (Tom Six, 2011).The analyses that form this thesis demonstrate the problems with separating notions of the 'spectator as textual construction' from that of the 'viewer as physically embodied'; yet these readings also indicate the necessity of continuing the task of conceptualising their interrelatedness, rather than simply using them interchangeably. The conclusion argues that the concept of physical spectatorship offers one way to understand how particular contemporary aesthetics have reconfigured the boundary between viewer and film.
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Hillbert, Frida. "Att hitta njutning i den biologiska skräcken : Ett undersökande av den kvinnliga kroppen i den samtida biologiska skräckfilmen." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99217.
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Den biologiska skräcken eller kallad på engelska body horror är en subgenre av skräck som visar människokroppen i syfte till att kränka, kroppsligt eller psykologiskt för att framhäva en obehaglig och skrämmande känsla hos åskådaren. Teman som avvikande kön, mutationer, zombiefiering eller onaturliga rörelser av kroppen är vanliga inom denna genre. Syftet med denna uppsats är att undersöka den kvinnliga kroppen i de tre samtida psykologiska skräckfilmerna Black Swan (Darren Aronofsky, 2010), Suspiria (Luca Guadagnino, 2018) och Horse Girl (Jeff Baena, 2020) med fokus på den kvinnliga kroppen och dess effekt hos åskådaren. Anledning till att just dessa tre filmer används i min undersökning beror på att de alla använder den kvinnliga kroppen som ett verktyg för att framkalla den biologiska skräcken som sedan skrämmer åskådaren. I stället för att välja tre liknande filmer har jag försökt välja filmer som använder sig av samma genre men på olika sätt. Varför är vi fascinerade av grafiska bilder av det kroppsliga? Hur används den kvinnliga kroppen i koppling till något äckligt och obehagligt för att skapa känslor hos åskådaren? Genom att applicera olika psykoanalytiska och feministiska teorier på de tre filmerna, kommer uppsatsen undersöka hur den kvinnliga kroppen används i koppling till något skrämmande samt diskutera den kroppsliga reaktionen åskådaren får och varför vi använder oss av detta när vi skapar en film inom genren skräck. Jag kommer ta hjälp av begrepp som fetischism, voyeurism, den nyfikna blicken och abjektion.
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Fosseide, Cathrine Aarø. "Med dobbeltblikk på seg selv : Kikking, selvstudie og rollespill i Olaug Nilssens roman Vi har så korte armar." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26457.
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Denne masteroppgaven undersøker forholdet mellom kikking, selvstudie og rollespill i Olaug Nilssens roman Vi har så korte armar (2002). Hovedpersonene Liv og Ølgjer blir spionert på av en tohodet vi-forteller gjennom hele romanen. Samtidig observerer både Liv og Ølgjer seg selv utenfra og reflekterer over hvordan de fremstår (eller ønsker å fremstå). Ved hjelp av nærlesning og tekstanalytisk arbeid ser jeg nærmere på denne blikkvekslingen og knytter den til hovedpersonenes identitetsutprøving. Jeg konsentrerer meg i hovedsak om romanens innhold, men i oppgavens andre kapittel behandles også bruddestetikken i romanen. Den kjennetegnes blant annet ved en blanding av ulike sjangre, et usammenhengende plot og en uklar fokalisering. Gjennom å analysere komposisjonen, typografien og sjangerblandingen kommer jeg frem til at romanen kan leses som bruddstykker av en fortelling om de to hovedpersonene, som små puslespillbrikker i en større fortelling om selvidentitet og sosial identitet. Kikking er gjennomgående motiv og tema i Vi har så korte armar. I kapittel 3 ser jeg nærmere på de voyeuristiske sidene ved romanen og på forholdet mellom sosialt blikk og selvblikk. Sistnevnte kan leses som en form for selvoppdagelse; som et forsøk på å forstå og realisere seg selv og finne mening i tilværelsen. Det sosiale blikket som følger hovedpersonene, sier noe om hvilke normer, forventninger og verdier Liv og Ølgjer må forholde seg til. Det kan også knyttes til moderne digital kikking og en medialisert selvforståelse. Nilssen evner slik å problematisere den ekshibisjonistiske kikkerkulturen vi lever i. Liv og Ølgjer prøver å finne seg til rette som studenter i byen, og de vurderer konstant identiteten sin knyttet til det å komme fra bygda. I det fjerde kapitlet knytter jeg denne identitetsutprøvingen til teorier om sosialt rollespill og performative selviscenesettelser. Vi har så korte armar kommenterer, går i dialog med og til tider kritiserer den også sosiologiteorien og –forskningen. Slik fungerer romanen som en annerledes utforsking av identitetsproblematikken enn den sosiologien tilbyr. Nilssens formspråk underliggjør og problematiserer ulike fremstillinger av identitetsbegrepet, narsissisme og medias innvirkning på hvordan vi samhandler og forstår oss selv.
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Ross, Alicia. "in_tension /." Online version of thesis, 2006. http://hdl.handle.net/1850/5039.
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Phelps, Kelsey W. "From Poe and Hitchcock to...Reality TV?" BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2526.
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This thesis expands the discussion of the mass appeal and sustained success of reality TV by initiating an examination of the direct connections between reality TV and cinematic and written fiction. As reality TV has firmly established itself as a successful genre of entertainment over the last two decades, scholarship has been slow to follow. The majority of existing scholarship focuses on reality TV as a descendant of the documentary and emphasizes the role of the non-professional, the average person, as the star. Reality TV's appropriation of structural elements from general fiction is acknowledged only briefly and the use of specific techniques borrowed from fiction is largely unexplored. Although reality TV is a variation of the documentary, this thesis explores reality TV's creation of its voyeuristic appeal through the appropriation of key elements that come directly from fiction. Specific techniques used to create a voyeuristic appeal in reality programs, such as the morally ambiguous character and the confession, can be traced, respectively, to the surprising sources of Alfred Hitchcock and Edgar Allan Poe. Reality TV, in appropriating these techniques from Hitchcock and Poe, has a similar formula for entertainment: the thrill of voyeurism as a sublime experience. The consistent appeal of reality TV cannot be fully understood without an awareness of its connections to these two great artists.
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d'Huart, Thierry. "Des faubourgs de Bruxelles aux boulevards de Verviers: conditions et jalons itinéraires d'un voyer - Victor Besme - au XIXe siècle." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209281.
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Faubourgs de Bruxelles. Boulevards de Verviers. Quelle(s) réalité(s) ?Quelle(s) relation(s) ?Pour les deux villes industrielles, le XIXe siècle a notamment été celui de l’expansion urbaine, au-delà des limites séculaires. Ce développement s’est matérialisé par des nouvelles voies de communication et des nouvelles bâtisses, dont les autorités publiques ont vu la nécessité de planifier l’organisation. Elles ont alors mis en place les moyens législatifs, humains et financiers pour maîtriser cette extension.
En partant de la fonction administrative appelée « inspecteur voyer des faubourgs de Bruxelles », une première partie de l’étude montre qu’à Bruxelles, capitale de la jeune Belgique, le service, le territoire, la mission de cet agent public, constituent une réelle particularité dans l’appareil administratif de la Province de Brabant.
En s’intéressant à l’évolution de cette fonction depuis son institution jusqu’à sa suppression, on découvre, non seulement un renforcement de cette originalité, mais on trouve aussi les rôle(s) et influence(s) qu’ont pu avoir les titulaires successifs. Parmi ceux-ci, il en est un qui a œuvré sur une longue période, de 1858 à 1904 :c’est Victor Besme. Il est bien connu des urbanistes comme auteur d’un plan d’ensemble qui a structuré le tissu urbain de la première couronne bruxelloise. Il est moins connu comme « électron libre » du « système voyer » qui s’est installé et confirmé dans la seconde moitié du XIXe siècle. Il est quasi inconnu comme ayant contribué à l’agrandissement de Verviers, à son « âge d’or ».
La notoriété acquise par l’inspecteur Besme à Bruxelles a conduit les autorités verviétoises à faire appel à ses services pour débloquer une situation devenue inextricable dans la cité lainière. En peu de temps, son analyse et le projet qu’il dépose font taire les dissensions et ouvrent la voie à la réalisation des rues d’un premier quartier, celui de l’Immobilière. Les relations qu’il noue à Verviers, la connaissance qu’il a des arcanes administratifs belges, permettent à Besme de déployer ses compétences également dans d’autres quartiers (Hanlet-Peltzer, Ile Adam) et de porter plusieurs casquettes, le plaçant parfois en équilibre entre la défense de l’intérêt général et celle de l’intérêt particulier, si pas de son intérêt personnel. C’est ainsi que le dossier des tramways verviétois fait en quelque sorte la synthèse de ces multiples postures.
Au final, on aura découvert deux villes différentes mais néanmoins comparables et même à rapprocher à certains égards, notamment pour ce qui est des préoccupations publiques de l’époque (assainissement, communication, extension). En examinant plus attentivement les éléments factuels, on aura appris à mieux connaître un homme multi-facettes, un « célèbre inconnu », dont l’itinéraire dans ces deux villes nous instruit sur la complexité qui se cache derrière des raccourcis. On aura aussi confirmé combien les mises en contexte, les liens et enchaînements, combien les particularités et les influences sont importants à étudier en urbanisme (et en architecture) car ils révèlent non seulement les lieux et les faits, mais font apparaître les systèmes, les structures et donnent un éclairage aux hommes qui les établissent, les occupent et les manœuvrent.
Doctorat en Art de bâtir et urbanisme
Une publication de la seconde partie de la thèse a été faite en 2016 par le Comité Scientifique d'Histoire de Verviers sous la référence suivante: D’HUART Th. Victor Besme et les extensions de Verviers sous Léopold II :genèse d’un patrimoine urbain, Comité scientifique d’histoire de Verviers (CSHV), Verviers, Mars 2016, 444p.
info:eu-repo/semantics/nonPublished
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Delhaume, Sophie. "Correspondance de la marquise de Voyer d'Argenson à son époux : une femme et sa plume au XVIIIe siècle : correspondance établie, présentée et annotée suivie de documents annexes et d'un travail de recherche portant sur les questions de représentation en épistolaire." Poitiers, 2010. http://www.theses.fr/2010POIT5034.
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Correspondance de la marquise de Voyer d'Argenson à son époux, Ce cas d'étude, constitué à partir d'un fonds d'archives privé, a été envisagé sous l'angle des représentations en épistolaire. Son caractère inédit et l'anonymat relatif des correspondants réclamait de resituer le contexte socioculturel dans lequel s'inscrit cet échange. La reconstitution des appartenances des correspondants et des cercles d'influences qu'ils fréquentaient a permis de préciser la posture d'écriture de l'épistolière. L'analyse du noyau moteur de l'échange : l'entretien de la relation interpersonnelle entre les époux, fait apparaître la récurrence d'images cellulaires et symbiotiques soulignées par une étonnante complicité intellectuelle. Maîtrise parfaite de la langue et du style servent une esthétique du détour qui caractérise le geste d'écriture de Madame de Voyer, faisant de ses textes de véritables objets d'étude littéraire, souvenirs d'une France qui était alors le royaume du raffinement. Panorama des règnes de Louis XV et de Louis XVI, cette correspondance conjugale témoigne de la tension des contraires qui s'exerce au cœur du système social et des mentalités, des positions inattendues d'une certaine noblesse d'épée vis-à-vis des mutations préparatoires à la période strictement prérévolutionnaire. Elle est, en outre, révélatrice des systèmes de représentations collectives et individuelles, illustre l'adhésion ou la résistance de l'individu aux prescriptions de son milieu et insiste sur le rôle actif des femmes dans la conduite de projets et de la pensée féminine en matière d'idées et de spiritualité. La masse documentaire proposée en supplément du corpus exhumé témoigne, enfin, des investigations menées pour ce type de travailThis case study, compiled from a private archive, has been considered in terms of representations in correspondence. Its novelty and the relative anonymity of correspondents claimed to relocate the socio-cultural context within which this exchange took place. The reconstitution of membership correspondents and circles of influence they attended helped clarify the position of writing of the letter writer. Analysis of the motor nucleus of the exchange: the maintenance of interpersonal relations between spouses, revealed the recurrence of images and symbiotic cell highlighted by an astonishing intellectual complicity. Perfect handling of the language and style serve an aesthetic of the detour that characterizes the act of Madame de Voyer's writing, making her texts real objects of literary study, memories of France which was then the Kingdom of refinement. Panorama of the reigns of Louis XV and Louis XVI, this marital correspondence demonstrates tension of opposites which arises in the heart of the social system and attitudes, unexpected positions of some old nobility vis-à-vis changes in preparation for the prerevolutionary period strictly. It is also indicative of systems of collective and individual representations, demonstrates adherence or resistance to the individual requirements of the community and emphasizes the active role of women in project management and women thinking about ideas and spirituality. The amount of documentation available for an additional corpus unearthed testifies, at last, of investigations conducted for this type of work
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Kemp, Christiaan Theodorus. "Deur die sleutelgat : ’n ondersoek na die voyeuristiese elemente in die poesie van Johann de Lange." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/8571.
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Thesis (MA)--University of Stellenbosch, 2000.Blog by Johann de Lange: http://johanndelange.blogspot.com/
AFRIKAANSE OPSOMMING: Die term voyeurisme hoort normaalweg tuis binne die sielkunde, waar dit dui op 'n seksuele abnormaliteit en afwyking. Hierdie siening stigmatiseer egter die fenomeen voyeurisme as 'n perverse handeling. In die eerste hoofstuk van hierdie studie word 'n poging aangewend om die begrip voyeurisme te verruim. Die voyeurisme wys nie net op 'n seksuele afwyking nie, maar vorm 'n sentrale deel van die eietydse samelewing. Die voyeurisme is dus ook van kardinale belang vir die letterkunde. In hierdie tesis word die voyeuristiese elemente in die poësie van Johann de Lange ondersoek. Aan die hand van tekste uit De Lange se oeuvre word die hipotese getoets dat die voyeurisme 'n voorwaarde vir die letterkunde is. Voorts word daar beweer dat die voyeurisme 'n onmisbare funksie in die skryf-en-lees-proses vervul; dat nie net die digter nie, maar sowel die teks as die leser noodwendig deel in die voyeuristiese handeling. Die letterkunde is dus, volgens hierdie hipotese, te danke aan die perspektiwiese kompleksiteit van die voyeurisme. Om die sprong van die sielkunde na die letterkunde te maak, word daar eerstens aandag bestee aan die werk van die teoretici Jean-Paul Sartre, Jacques Lacan en Michel Foucault en die bydraes wat hulle tot die teoretisering oor persepsie lewer. Voorts word vier gedigte geanaliseer met konsentrasie op aspekte van die voyeurisme soos wat dit in De Lange se oeuvre manifesteer en funksioneer, naamlik: die skilderkuns, die fotografie, die religie en die verhouding tussen vader en seun. Hoewel hierdie tesis uitsluitlik oor die werk van Johann de Lange handel, wil dit 'n gesprek oor die voyeurisme in die Afrikaanse letterkunde tot stand bring.
ENGLISH ABSTRACT: The term voyeurism normally belongs to the field of psychology, where it is used to describe a sexual abnormality and deviation. However, this view stigmatises the phenomenon of voyeurism as a perverse act. In the first chapter of this study the author attempts to broaden the notion of voyeurism. Voyeurism not only indicates sexual deviation, it also forms a central part of contemporary society. Voyeurism is therefore also of the utmost importance in literature. In this thesis the voyeuristic elements in the poetry of Johann de Lange are examined. Using texts from De Lange's oeuvre the hypothesis that voyeurism is a condition for literature is tested. It is further argued that voyeurism fulfils an essential function in the reading and writing process; that, not only the poet, but both the text and the reader inevitably share in the voyeuristic action. Literature according to this hypothesis, has its origins in the perspective complexity of voyeurism. To explain the connection between psychology and literature attention is firstly devoted to the works of the theorists Jean-Paul Sartre, Jacques Lacan and Michel Foucault and the contributions they made on perception. Further four poems are analysed in detail, with emphasis on aspects of voyeurism as they manifest and function in De Lange's oeuvre, namely: the art of painting, photography, religion and the relationship between father and son. Although this thesis deals exclusively with the work of Johann de Lange, it wants to bring about a discussion on voyeurism in the Afrikaans literature.
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Roy, Karina Ceribelli. "As metamorfoses do triângulo: estruturas de relacionamento amoroso nos romances de Marguerite Duras." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-17012011-134242/.
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O objetivo da tese é estudar, em um primeiro momento, as transformações do triângulo amoroso nos romances de Marguerite Duras que retratam uma crise conjugal: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) e Le Ravissement de Lol V. Stein (1964). Esses romances colocam em cena um casal cuja separação é provocada pela chegada de um desconhecido. Essa terceira pessoa forma então um novo par com um dos membros do casal anterior. Em algumas dessas obras, aquele que ficou só se torna a terceira pessoa e passa a olhar o casal recém constituído. A originalidade do triângulo amoroso em Marguerite Duras está no fato de que esta terceira pessoa, contemplando o nascimento de um novo amor, não sofre com a perda do parceiro, nem sente ciúme; ao contrário, sente prazer em ver, ao invés de amar. Assistir a esse encontro lhe proporciona um arrebatamento. Em um segundo momento, veremos que essa estrutura triangular remete aos romances familiares nos quais se encontra o triângulo amoroso original: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990) e LAmant de la Chine du Nord (1991). Nessas obras, o casal é formado por dois irmãos e a terceira pessoa, pelo amante. Como o coito fraterno é ilícito, a terceira pessoa pode ser um substituto possível do irmão. Outro recurso encontrado é o voyeurismo. Unir-se ao irmão não é lícito, porém a possibilidade de ver o irmão ou a irmã juntar-se a uma terceira pessoa permite ao voyeur viver o amor proibido. Assim, esta tese pretende demonstrar como a cena primitiva, que retrata o amor incestuoso nos romances familiares, reaparece disfarçada em triângulos amorosos nos romances que representam a crise conjugal.The objective of this thesis is to study, firstly, the transformations of the loving triangle in relationship in Marguerite Duras novels that portrays the marital crisis: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) Le Ravissement de Lol V. Stein (1964). These novels show a couple whose separation is caused by the arrival of a stranger. This third person then starts a new couple with one of the members of the first couple. In some of the pieces, the one who is left aside becomes a third person and starts to look the new couple. The originality of the loving triangle, in Marguerite Duras, is in the fact that this third person, by contemplating the birth of a new love, does not suffer with the loss of the partner, or feels jealousy, by the contrary, feels pleasure watching instead of loving. The view of this union makes him feel rapture. In a second moment, we will see that this triangle structure refers to the family novels where the original loving triangle is found: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990), LAmant de la Chine du Nord (1991). In these pieces the couple consists in brother and sister and the third person is the lover. As fraternal coitus is prohibited, the third person may be a possible substitute for the brother. Another resource found is voyeurism. Fraternal union is not licit; however the possibility of watching the brother or sister with a third person allows the voyeur to live the prohibited love. Therefore, this thesis intends to demonstrate how the primitive scene, that portraits the incestuous love in familiar novels, reappears disguised in loving triangles in the novels that represent marital crisis.
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Hultén, Isabelle, and Emil Lundberg. "Hur verklig är reality-tv? : En studie kring dokusåpan Paradise Hotel utifrån deltagarnas perspektiv." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK. Medie- och kommunikationsforskning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14433.
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Realityshower och dokusåpor tar allt större plats i våra tv-tablåer och är under ständig debatt. Programmen sänds numera på prime time och finns hela tiden tillgängliga via internet. Just nu är dokusåpan Paradise Hotel mest aktuell och har fått utstå mycket kritik. Detta på grund av de stora mängder alkohol som deltagarna dricker samt programmets inslag av sexuell karaktär. Genrens namn, reality-tv, ger sken av att det är verkligheten som speglas i programmen, men hur verkligt är egentligen det vi får se? Hur stor makt har produktionsbolaget över deltagarna och hur redigeras det filmade materialet för att locka tittarna? Det är frågor som den här uppsatsen syftar till att försöka besvara. Vi ville, utifrån deltagarnas synvinkel, undersöka hur verklig reality-tv verkligen är. För att göra detta har vi valt att göra semistrukturerade intervjuer med sex deltagare från dokusåpan Paradise Hotel. Dessa har vi sedan analyserat med hjälp av en hermeneutisk analysmetod. De teoretiska perspektiv vi främst använt oss av är individualism, voyeurism och narcissism. Det är svårt att ge några exakta svar på de frågeställningar som ligger till grund för studien då deltagarnas åsikter ofta går isär. Vi har dock kunnat konstatera att de flesta av dem vi intervjuat inte sökte till programmet själva, utan blev handplockade av produktionsbolaget. Det är också tydligt att deltagarna tilldelas roller i efterhand när det filmade materialet redigeras. Dessa roller är vissa av deltagarna nöjda med, medan andra är upprörda över hur de framställts i tv.Realityshows and docusoaps gets more and more space in our TV-guides and are under constant debate. It is more usual nowadays that the shows are being aired on prime time than before, and the shows are constantly available on internet. Right now the show Paradise Hotel is most current and has endured a lot of criticism because of the amount of alcohol and sex it contains. The name of the genre, reality-TV, makes it sound like it is the reality that is reflected in the shows, but how real is actually reality-TV? How much power does the production company have over the participants and how much is the filmed material edited afterwards to attract the audience? It is questions like this we will try to give answers to in this study. Our purpose is to examine how real reality-TV is, from the participants' point of view. To do this we have chosen to do semi structured interviews with six participants from the reality show Paradise Hotel. This has been analyzed through a hermeneutic point of view. It's hard to give any exact answers to the questions that the study is based on because of the different opinions of the participants. Though, we found that most of the persons that we have interviewed did not apply for the show themselves, they got handpicked from the production company. Also, it is obvious that the participants have been assigned characters afterwards when the shot material has been edited. It is also clear that some of the participants are pleased with the character they have been assigned, while others are upset with how they have been changed into someone they are not.
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Sharifpour, Sara. "Självutlämning i dagboksbloggen : På gränsen mellan privat och offentligt." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-89375.
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Syftet med denna uppsats är att undersöka hur bloggens innehåll reflekterar bloggarens syn på vad som är privat och vad som är offentligt. Detta har skett genom att först urskilja följande ämnen i bloggarna: vänner, jobb, sömn, mat, hälsa, nöje, familj, sex och pengar, och sedan undersöka vilka av dessa ämnen som respektive bloggare använder sig av och vilka som utelämnas från bloggen. De ämnen som används av bloggarens blir då offentliga, medan de som utelämnas förblir privata. Funktionerna av självutlämning – självförtydligande, social bekräftelse, social kontroll och relationell utveckling - har analyserats och slutligen har skillnaderna mellan de manliga och kvinnliga bloggarna undersökts. Den teoretiska ramen består av kategorierna; privat och offentligt, medierad voyeurism, empowering exhibitionism samt ett renodlat likhetsperspektiv inom genusdiskurs. Medierad voyeurism som är konsumtionen av avslöjande bilder och information om andras verkliga liv, leder ofta till empowering exhibitionism vilket sker då individen tar kontroll över framställningen av sig själv och går emot den skam som är kopplad till konceptet privat. Det empiriska materialet för undersökningen består av sju dagars utdrag av Cimon Lundberg, Isabella Löwengrip, Johanna And och Simon Leisjö’s bloggtexter från sista veckan i augusti 2012. Kvalitativa samtalsintervjuer med And och Leisjö har fungerat som ett komplement till textanalysen av bloggarna. Genom en kvalitativ metod har ett narratologiskt perspektiv tillämpats i analysen för att besvara följande frågeställningar: 1. Hur reflekterar bloggarnas innehåll gränsen mellan den privata och den offentliga sfären? Vilka ämnen tas upp och vilka utelämnas? 2. Skiljer sig förhållandet till det privata/offentliga mellan kvinnliga och manliga bloggare? 3. Vad kan de olika graderna av självutlämning säga om bloggens betydelse för individen? Vilken funktion fyller olika texttyper hos dessa bloggare? Undersökningen har visat att även om flera ämnen som tidigare var privata offentliggörs i bloggarna, så dras gränsen för det privata än idag vid ämnet; sex. Familj och vänner har flyttats till den främre regionen samtidigt som gränsdragningen för ämnena jobb och ekonomi skiftar hos de olika bloggarna. Skillnaderna mellan de kvinnliga och de manliga bloggarna har varit obefintliga eller minimala, vilket kan hänvisas till att bloggarna formas inom samma sociokulturella sammanhang. I samtliga bloggar sker självutlämning i olika grader och högre grad av självutlämning har visat sig fungera som empowering exhibitionism. Större självutlämning kan kopplas till att ämnet blir mer privat.
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Shinko, Kathryn A. "Vignettes." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429884060.
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Brooks, Erin. "Co-creation: A study of intimacy and control." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3486.
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Drawing from ongoing revitalization initiatives in Richmond, Virginia, this adaptive reuse project creates a structured dialogue between public and private expression to create a more immersive gallery experience for viewer and practitioner. The gallery experience is twofold; traditional object-based display and nontraditional process-based display. Preservation of the historic fabric of the existing Handcraft building at 1501 Roseneath is integrated with the transformative potential of introducing voyeuristic opportunities in creating a community arts center. Notions of voyeurism will center around ideas of visual connection and physical separation. This project questions if tactics of voyeurism, which inherently create physical barriers, can facilitate interaction and encourage co-creation in a creative setting. Structured moments of intimacy and control are accomplished through presented and found views of movement, object, and process. These moments of intimacy and control create a conceptual reciprocity which guides the design of this project. Ultimately, the redesign creates a dialogue between the process of making and the final product/object by facilitating interaction between the viewer and practitioner through different points of the creative process. The project moves away from exploiting the site’s formal, historical, and contextual components and encourages the audience member to engage with the maker through a corporeal, experiential encounter. The environment becomes a catalyst for cross-disciplinary creativity on an individual, group, and community level. The development of spaces that engage the creative mind and foster collaborative growth will serve the Richmond arts community and can act as an icon for successful urban transformation.
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Fisher, Michael T. "A Theory of Viral Growth of Social Networking Sites." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1363116627.
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Silva, Marcio Roberto Santim da. "Culto ao corpo: expressões contemporâneas do exibicionismo e voyeurismo." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/17306.
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Previous issue date: 2008-09-25The body cult, characterized by the overvaluation of the physical beauty, has been a common behavior in the western society. The increasing number of plastic operations and health clubs are some of the facts that testify some of the worries of individuals concerning the acquisition of some esthetical patterns. The cultural industry has encouraged individuals to identify themselves with esthetically standardized beauty models exposed by itself. Such fact, associated with the weakening of the individual in the contemporaneous society, has contributed to the formation of homogeneous esthetical concepts. The voyeur and exhibitionist impulses have to be mobilized in the individuals so that the beauty patterns, presented by the object, constitute the esthetical experiences. The exacerbation or the weakening of these impulses may contribute to the formation of various related problems, respectively, the obsession with doing physical activities and a sedentary behavior. Three Likert scales -- voyeurism(V), exhibitionism (E), and esthetical patterns (EP )-- were developed in order to verify the possible differences in the expression of these phenomena in three different groups related to practicing sports: group 1 (sedentary people); group 2 (people who practice weightlifting) and group 3 ( people who practice other physical activities).The study hypotheses were that group 2 would present scores superior to the other groups on the three scales in which they would be co-related. The data analysis, based on the results obtained by the application of scales, showed the existence of meaningful co-relations among voyeurism, exhibitionism and the compliance with esthetical patterns. The co-relation coefficients ρ of Spearman had a p < 0,01 level and were the following: ρ = 0,46 ( V and E scales ); ρ = 0,52 ( scales V and EP ); ρ = 0,49 ( scales E and EP). Group 2 score was higher than the other groups only on scale EP having an associated probability level of p < 0,01. These results show that group 2 has a higher compliance with the esthetical patterns. The basic theoretical references of this study were the Critical Theory of the Society, specifically the authors who belong to the first generation of Frankfurt school and the Freudian Psychoanalysis
O culto ao corpo, caracterizado pela valorização exacerbada da beleza física, tem sido um comportamento comum na sociedade ocidental. O crescimento do número de cirurgias plásticas e academias de musculação são fatores que evidenciam algumas preocupações dos indivíduos em relação à aquisição de determinados padrões estéticos. A indústria cultural tem estimulado os indivíduos a se identificarem com modelos, por ela expostos, padronizados esteticamente. Tal fato, associado ao enfraquecimento do indivíduo na sociedade contemporânea, contribui para a formação de conceitos estéticos homogêneos. Para que os padrões de beleza, apresentados pelo objeto, constituam-se como experiência estética, as pulsões voyeur e exibicionista precisam ser mobilizadas nos indivíduos. A exacerbação ou o enfraquecimento dessas pulsões podem contribuir para o aparecimento de vários problemas decorrentes, respectivamente, da obsessão por práticas esportivas e do sedentarismo. Foram desenvolvidas três escalas do tipo Likert voyeurismo (V), exibicionismo (E) e padrões estéticos (P) com o objetivo de verificar possíveis diferenças na expressão desses fenômenos em três grupos distintos quanto à prática esportiva: grupo 1 (sedentários); grupo 2 (praticantes de musculação) e grupo 3 (praticantes de outras atividades físicas). Também procurou-se analisar a correlação entre as três escalas. As hipóteses da pesquisa foram de que o grupo 2 apresentaria escores superior aos demais grupos nas três escalas e que elas estariam correlacionadas. A análise dos dados, com base nos resultados obtidos mediante a aplicação das escalas, apontou a existência de correlações significativas entre voyeurismo, exibicionismo e adesão aos padrões estéticos. Os coeficientes de correlação ρ de Spearman tiveram um nível de significância de p < 0,01 e foram os seguintes: ρ = 0,46 (escalas V e E); ρ = 0,52 (escalas V e P); ρ = 0,49 (escalas E e P). Apenas na escala P, o escore do grupo 2 foi maior que os demais grupos, com um nível de probabilidade associado de p < 0,01. Esses resultados mostraram que o grupo 2 adere mais aos padrões estéticos. Os referenciais teóricos básicos desta pesquisa foram a Teoria Crítica da sociedade, especificamente os autores pertencentes à primeira geração da escola de Frankfurt, e a Psicanálise freudiana
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Homman, Lina. "AVVIKANDE KROPPAR I DET SAMTIDA TV-UTBUDET." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6604.
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This thesis discusses the representation of bodies in todays non-fiction television in Sweden. I have chosen to focus on deviant bodies (sexual, deformed or unhealthy) on display in reality-shows and documentaries on SVT, TV4 but especially on the commercial channels TV3 and Kanal5. Also discussed are the viewers emotional and bodily reactions. Altough these shows are different from one another in many respects, I argue that there is also a common thread between them. From a sociological and cultural perspective, and with help of some historical examples, I try to illustrate how we view these shows and what their function is. I conclude that the body is a site of powerstruggle and that these shows have many different levels of meaning. We cathegorize and value these deviant bodies but also our own. It is about making creating a ”us and them” and in the long run it has to do with making class and identity. The voyeuristic pleasure in watching these people displayed on TV is made possible from the safe distance of our livingroom.
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Polley, Kerry A. "Ceci n’est pas un film: Visual Perception in Michael Haneke’s Caché." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1250228246.
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