Bibliografías temáticas / Woodman, Francesca

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Literatura académica sobre el tema "Woodman, Francesca"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 8 de febrero de 2022

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Artículos de revistas sobre el tema "Woodman, Francesca"

Baker, George, Ann Daly, Nancy Davenport, Laura Larson y Margaret Sundell. "Francesca Woodman Reconsidered". Art Journal 62, n.º 2 (junio de 2003): 52–67. http://dx.doi.org/10.1080/00043249.2003.10792158.

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Woodman, Francesca. "Photographs by Francesca Woodman". Frontiers: A Journal of Women Studies 10, n.º 1 (1988): 50. http://dx.doi.org/10.2307/3345939.

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Adams, Harrison. "FRANCESCA WOODMAN: WATER SPECIFIED". photographies 13, n.º 3 (11 de agosto de 2020): 413–34. http://dx.doi.org/10.1080/17540763.2020.1779792.

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DOY, GEN. "FRANCESCA WOODMAN BY CHRIS TOWNSEND". Art Book 14, n.º 3 (agosto de 2007): 59. http://dx.doi.org/10.1111/j.1467-8357.2007.00850_2.x.

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Da Câmara, Patrícia Infante. "Como desaparecer sendo todas as coisas: derivação e polimorfia em Francesca Woodman". Jangada: crítica | literatura | artes, n.º 9 (6 de abril de 2018): 34–51. http://dx.doi.org/10.35921/jangada.v0i9.54.

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RESUMO: Este ensaio parte da obra de Francesca Woodman para traçar, sobre a mesma, um fio narrativo sustentado nas ideias de dispersão, metamorfose e construção identitária. Considera algumas das suas principais temáticas, assim como os géneros e movimentos artísticos com que mais tem sido identificada, para alargar alguns posicionamentos críticos daí decorrentes. PALAVRAS-CHAVE: Francesca Woodman, fotografia, corpo, desejo, metamorfose, extravasação. _____________________ ABSTRACT: This essay is based on the work of Francesca Woodman to draw a narrative thread based on the ideas of dispersion, metamorphosis and identity construction. It considers some of its main themes, as well as the artistic genres and movements with which it has been most identified, in order to broaden some critical positions resulting from it. KEYWORDS: Francesca Woodman, photography, body, desire, metamorphosis, extravasation.

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AKKKAYA, Şahinde. "Öznenin Deneyimsel Konumları Bağlamında Francesca Woodman". Social Sciences Studies Journal 6, n.º 56 (1 de enero de 2020): 468–79. http://dx.doi.org/10.26449/sssj.2073.

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Simon, Jane. "Francesca Woodman and the Kantian Sublime". History of Photography 36, n.º 4 (noviembre de 2012): 460–61. http://dx.doi.org/10.1080/03087298.2012.712265.

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Pereira, Bruno y Fernando Silva Teixeira Filho. "Francesca Woodman: a fotografia para além dos limites da representação". Discursos Fotograficos 13, n.º 23 (5 de diciembre de 2017): 161. http://dx.doi.org/10.5433/1984-7939.2017v13n23p161.

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Este artigo pretende articular as relações entre fotografia e arte, por meio da obra da fotógrafa estadunidense Francesca Woodman (1958-1981). A análise centrar-se-á nas contribuições de Woodman às discussões acerca da fotografia enquanto meio, em especial, as questões relativas a representação, para assim, demonstrar como Woodman questionou os preceitos da fotografia de seu tempo e apresentou pistas para a construção de uma nova linguagem fotográfica mais atrelada à arte e sua potência inventiva.

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이필. "Francesca Woodman: The Hybrid Space of Photography". Journal of History of Modern Art ll, n.º 35 (junio de 2014): 59–86. http://dx.doi.org/10.17057/kahoma.2014..35.003.

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Malarich, Tammie. "Review: Francesca Woodman, edited by Chris Townsend". Afterimage 35, n.º 2 (1 de septiembre de 2007): 30. http://dx.doi.org/10.1525/aft.2007.35.2.30.

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Tesis sobre el tema "Woodman, Francesca"

GALLO, Marina Didier Nunes. "Francesca Woodman e o lugar de onde eu me olho". Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17087.

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Submitted by Isaac Francisco de Souza Dias (isaac.souzadias@ufpe.br) on 2016-06-13T18:43:21Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Versão Final - Dissertação - MarinaDidier--Copiar.pdf: 5537504 bytes, checksum: 1a62631e1fa6ac438a71f08eba6404cb (MD5)
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A partir da leitura das obras da fotógrafa americana Francesca Woodman, passo a tecer diálogos com a temática das categorizações sociais femininas, da identidade e da singularidade, com o intuito de refletir sobre o modo como a produção de subjetividade encontra, contemporaneamente, seus obstáculos, e como as instituições tendem a dificultar tal produção. Ao percorrer as imagens de Francesca, nas quais ela questiona e confronta padrões femininos estabelecidos dentro do seu contexto histórico, falo da representação fotográfica como meio de construção das identidades e da arte como um dos lugares no qual certas construções naturalizadas podem ser quebradas e confrontadas, e onde a singularidade pode ser expressada. Entre o ensaio, as fotografias e os trechos de diários, meu e dela, reflito sobre as influências desses ordenamentos sociais nas produções das imagens que as mulheres fazem de si mesmas.
By taking as a guideline tread the works of the American photographer Francesca Woodman, I weave dialogues with issues such as women's social categorizations, identity and uniqueness, in order to reflect on how the production of subjectivity faces, nowadays, its obstacles, and how institutions tend to hinder such production. By scrolling through the pictures of Francesca, in which she questions and confronts female standards set within her historical context, I speak of photographic representation as a means to construction of identities and art as one of the places in which certain naturalized constructions can be broken and confronted, and where the uniqueness can be expressed. Among the essay, the photographs and journal entries, hers and mine, I raise considerations regarding the influences of these social standards and stereotyping upon the images produced by female artists.

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Goyarrola, Olano Érika. "Autorreferencialidad en la fotografía contemporánea: Francesca Woodman, Antoine d'Agata y Alberto García-Alix". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/378042.

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Esta investigación elabora un marco teórico para entender y delimitar la autorreferencialidad en la fotografía contemporánea. A partir del análisis de la obra de los fotógrafos Francesca Woodman, Antoine d’Agata y Alberto García-Alix, se extraen las características que dan lugar a un corpus artístico autorreferencial: cuestiones relacionadas con la identidad, la multiplicidad del yo, el autorretrato, la autobiografía o la autoficción en el medio fotográfico. También se analizan aspectos particulares de cada caso de estudio como son la importancia del propio cuerpo, el juego de espejos y máscaras, así como temáticas en torno a la muerte, la violencia y las emociones. Los tres autores tratados son un ejemplo de cómo la fotografía contemporánea ha generado un cambio de paradigma en la configuración de la representación del yo.
This research develops a theoretical framework for understanding and defining the self-referentiality in contemporary photography. From the analysis of the work of the photographers Francesca Woodman, Antoine d'Agata and Alberto Garcia-Alix, the characteristics that give rise to a self-referential artistic corpus are extracted: identity issues, the multiplicity of the self, self-portrait, autobiography or autofiction in the photographic medium. Particular aspects of each case of study are also discussed such as the importance of the body, the game of mirrors and masks, as well as themes around death, violence and emotions. The three authors discussed are an example of how contemporary photography has created a paradigm shift in the configuration of self-representation.

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Grébert, Marion. "Femmes invisibles. L’art de disparaître dans l’autoportrait photographique féminin. Vivian Maier, Francesca Woodman". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL116.

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À partir des autoportraits photographiques de Vivian Maier (1926-2009) et Francesca Woodman (1958-1981), la thèse de ce texte est que la figuration féminine nous transmet un art de disparaître. Si l’on établit que cet art serait présent de manière plus ou moins active dans l’ensemble de l’iconographie du féminin, on montre que c’est un contexte particulier qui en révèle l’existence : celui de l’émancipation des femmes depuis la fin du XVIIIe siècle, de l’invention de la photographie au XIXe siècle et du bouleversement écologique contemporain. En effet, on constate chez Vivian Maier et Francesca Woodman, et plus largement dans l’autoportrait photographique féminin, une écologie poétique déterminée et engendrée par la technique photographique et les mutations modernes dans la vie des femmes, où se rencontrent désormais le destin de la figuration féminine dans l’histoire de l’art et le destin possible de notre espèce. Cette thèse propose de tirer de ces autoportraits un nouveau modèle pour habiter le monde en ce moment de transition historique à l’égard du genre et de la nature
Drawing from the photographic self-portraits of Vivian Maier (1926-2009) and Francesca Woodman (1958-1981), this thesis argues that feminine figuration conveys an art of disappearing. Establishing that this art is, to a certain extent, at work across the iconography of the feminine, we are showing that it was brought to light within a specific context: the emancipation of women since the end of the 18th century, the invention of photography in the 19th century and the contemporary ecological crisis. Indeed, a poetic ecology emerges through the works of Vivian Maier and Francesca Woodman in particular, and the feminine photographic self-portrait as a whole, determined by the photographic technique and modern changes in women’s lives, where the destiny of feminine figuration in art history converges with the possible destiny of our species. From these self-portraits, this thesis offers to draw a new way of inhabiting the world in this historic moment of transition with regard to gender and nature

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Hägertorp, Sara. "Fotografi som medium för att uttrycka identitet : En jämförande analys mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet i relation till ett didaktiskt perspektiv". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96114.

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Syftet med denna uppsats är att jämföra Cindy Shermans och Francesca Woodmans sätt att arbeta med temat identitet och sätta detta i relation till ett didaktiskt perspektiv. Utifrån frågeställningarna: Vad finns det för likheter och skillnader mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet genom fotografi? och Hur kan man utifrån dessa fotografer arbeta med identitet i bildundervisningen? kommer en komparativ analys göras på fyra bilder. Två av Cindy Sherman och två av Francesca Woodman. Resultatet påvisar att Francesca Woodman arbetar med identitet utifrån ett modernistiskt synsätt där inre psykologiska processer och tillstånd uttrycks i fotografiska bilder. Cindy Sherman däremot arbetar med iscensättning av sociala roller och kulturella representationer utifrån ett postmodernistiskt perspektiv.

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Riegle, Allison E. "Rieglematica: Re-Imagining the Photobooth Through Female Performativity and Self-Portraiture". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/328.

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This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.

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Riches, Harriet Katherine. "Skin surface and subjectivity : the self-representational photography of Frances Woodman". Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/1383222/.

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This thesis examines Francesca Woodman's self-representational photography, not as a project of self-portraiture, but a means of exploring the relationship between self and objectified image through a re-staging of the drama of the photographic medium's process on her own skin. I re-situate Woodman's work within 1970s art practice by examining her relationship to performance, body art and photography, in order to disrupt the strictures of existing psycho-biographical interpretations. I also address the ways in which Woodman stages photographic dialogues with a diversity of historical precedents, from photographic contemporaries of the period, from the nineteenth-century, Surrealist photography, and from American modernist practice. The first chapter concentrates on Woodman's best known photographs, addressing the problems of the existing literature, and how in this series Woodman uses the technique of blurring to make reference to archaic photographic practice, as a haunting of the medium staged through an artful `stretching' of the print's surface and temporal fabric. The second chapter considers Woodman's description of `skin' in her photography, and the ways in which she performs a subject in the process of formation or breakdown. The third chapter concentrates on Woodman's reconfiguration of the photographic `crop' as she re-situates the process in the moment of framing, excising her own face and subjectivity in a kind of `self-cutting' which dramatises the medium's own language of implicit violence. The fourth chapter discusses an unpublished artist's book, in which Woodman's own skin is the support for a sequential act of disappearance. By re-enacting the photographic moment of the negative, the series alludes to the process of self-absenting on which representation depends. The final chapter examines Woodman's use of masking and repetition to re-enact within the single shot the photograph's status as copy, and the ways in which the imaged subject is always split and doubled in representation.

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Mendonça, Mariana Roque Martins de Carvalho. "O estudo da representação de si através da obra fotográfica de Francesca Woodman numa perspectiva psicodinâmica e projectiva". Master's thesis, 2014. http://hdl.handle.net/10400.12/3669.

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Dissertação de mestrado apresentada ao ISPA - Instituto Universitário
Neste presente trabalho pretendemos reflectir sobre as dificuldades da construção do self uno e coeso a partir do estudo da obra fotográfica de Francesca Woodman reflectindo sobre a noção de representação de si e identidade. Para a análise do funcionamento psíquico de Francesca Woodman foram utilizados conceitos psicanalíticos e elementos da metodologia projectiva Rorschach. De forma a estudar a obra fotográfica foram definidos procedimentos específicos do Rorschach de modo a avaliar a sua identidade, partindo do princípio que a obra fotográfica é considerada como um auto-retrato da autora. Os dados obtidos evidenciaram a presença da perturbação psíquica borderline, apresentando um self indefinido, fragmentado e com ausência de limites traduzindo uma identidade fragilizada. A obra fotográfica de Francesca Woodman representa uma busca incessante da procura da sua identidade.
ABSTRACT------In this work, we intend to reflect on the difficulties of building a cohesive self from the study of the photographic work of Francesca Woodman, reflecting on the notion of selfrepresentation and identity. For the analysis of the psychological functioning of Francesca Woodman, psychoanalytic concepts and elements of Rorschach projective methodology were applied. In order to study the photographic work, Rorschach specific procedures were defined to assess Woodman’s identity, assuming that the photographic work is considered a self-portrait of the author. The data obtained showed the presence of a borderline psychic disturbance, presenting an undefined and fragmented self, with no boundaries, reflecting a fragile identity. The photographic work of Francesca Woodman is a relentless pursuit of search for identity.

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Lopes, Elisabete Cristina Simões. "Desmontando narrativas e corpos : uma reflexão sobre o corpo no gótico feminino na obra poética de Sylvia Plath e Anne Sexton, e na obra fotográfica de Francesca Woodman e Cindy Sherman". Doctoral thesis, 2012. http://hdl.handle.net/10400.2/2372.

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Tese de Doutoramento em Literatura na especialidade de Literatura Norte-Americana apresentada à Universidade Aberta
O objectivo desta investigação é o de examinar o modo como Sylvia Plath, Anne Sexton, Francesca Woodman e Cindy Sherman exploraram a representação do corpo da mulher, à luz do gótico, mais especificamente, dentro do enquadramento do gótico feminino. Consequentemente, a obra poética de Sylvia Plath e de Anne Sexton, tal como a obra fotográfica de Francesca Woodman e Cindy Sherman, são exploradas dentro das várias vertentes do gótico: feminino, materno, paterno, doméstico e marital. Elementos tradicionais do gótico, tais como as ruínas, os fantasmas, os monstros, o dopplegänger, o anjo ou a “madwoman” do período vitoriano, conjugam-se com elementos de carácter surrealista (os peixes, as luvas, os espelhos, os cadáveres esquisitos), de forma a ilustrar o modo como o corpo feminino estabelece um diálogo com a geografia do espaço. Neste contexto, é igualmente importante analisar de que forma essas mesmas representações comportam um pendor feminista e determinar como operam enquanto resposta e revisão relativamente ao paradigma patriarcal. No âmbito deste estudo, conceitos operacionais intrinsecamente ligados ao estudo do gótico, tais como o grotesco, o abjecto ou a estranheza, são convocados com o intuito de enriquecer esta análise, no seio da qual o corpo feminino se encontra em permanente flirt com a presença da morte.
This research aims at examining the way Sylvia Plath, Anne Sexton, Francesca Woodman and Cindy Sherman have carried out female’s body representation, in the light of the gothic, specifically within the female gothic setting. Therefore, both Sylvia Plath’s and Anne Sexton’s poetic oeuvre and Francesca Woodman’s and Cindy Sherman’s photography are explored within the various gothic types: female gothic, maternal gothic, paternal gothic, domestic gothic and marital gothic. In this analysis, traditional elements of the gothic, such as ruins, ghosts, monsters, dopplegängers, the angel and the madwoman of the Victorian epoch, combine with surrealist imagery (fishes, gloves, mirrors, cadavres exquis) in order to convey the ways in which the female body engages in a dialogue with the geography of space. In this context, it is important likewise to analyse the feminist essence inherent in those representations, and unveil to what extent they constitute an answer and revision regarding patriarchy. In this research, we resort to theoretical concepts intimately linked to the gothic genre, such as the grotesque, the abject and the uncanny, so as to illustrate a female body which appears constantly flirting with death.

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Marques, Ana Margarida Fernandes. "O meu corpo é uma ruína: as casas também morrem". Master's thesis, 2019. http://hdl.handle.net/10451/40693.

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This is an investigation about ruins, that aims to explore the relationship between architecture and performatic body. Here, it’s presented the theoretical development about a multimedia work done within the last two years. Theory and practice have worked together and have always, depended on each other. Studying the notion of ruin was fundamental for the forward development of the body as a building. To work with and about ruins it is necessary to understand its relationship with the human being through the ages. It’s mainly an emotional e sensorial discovery about a ruin that is already built, bodily and then, inevitably, by the nature of the events, a moral ruin. Therefore, this thesis has been divided in a chronological order, similar to the path the work had gone through. The understanding of the romantic ruin, associated with nostalgy and contemplation of the Romantic period, going through the created ruin by mankind during Modernism, until the works done by contemporary artists, such as Gordon Matta-Clark, Robert Smithson e Rebecca Woodman, as references, not as inspirations but as examples of different ways to work different notions of ruin. It became, also, important to analyze, even if briefly, de notion of psychosomatic body, that presents itself as a physical ruin in an emotional and psychological of empathy with its surroundings. The body tends to imitate its context. The attempt to present the work is seen as an experience which enables the most correct description of the event. Either way, those experiences will be presented, objectively. Also, it’s presented the tragic event that made the work to be extended in the future but in the present to be used as a moment of reflection. The instant devastation of the territory from where the object of ruin is from, imposed to be included the notion of catastrophe and therefore, the notion of immediate ruin, which until now the notion was the one of time and return to mother nature. To talk about ruin, we need to know how to wait. I too, learnt how to wait.

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Sandulescu, Nicoleta. "Múltipla singularidade: a pintura e o corpo". Master's thesis, 2020. http://hdl.handle.net/10451/42808.

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The present dissertation aims to develop an idea of Identity as a Multiple Singularity to investigate as conceptual and plastic aesthetic concerns of my artistic work. Multiple singularity: a painting and the body is the motto for an investigation into the multiplicity of the singular self and the strangeness that this multiplicity causes. It is intended to analyze the existence of this type of multiple self in the contemporary artistic context, taking into account a cross-sectional view that goes not only through painting, but also through photography, literature and video, approaching parallel to the concept of patheticus, of unheimlich and the idea of double. The importance of the body as an instrument in my artistic work is affirmed, where there is a materialization of this self in a fragmented self made real through painting and drawing. The body as an expressive medium, which ceases to have identity and in movement, seems to have constituted itself as a central "object" of analysis, being registered its (dis) balance, its oscillation, its instability, in short, its choreography to the camera. Therefore, the central object of this study will be constituted by the performative body and the projection of its image in the space of painting and drawing.The question is also explored that, when under the influence of the artistic disposition, the artist assumes an apparently passive position (instrument), listening to a kind of double, to his other self forgetting about himself. Forgetting yourself awakening the voice of the unknown is the moment of doing, the moment of creation. This is the moment when vitality of pictorial creation overlaps with any established identity and of the oblivion of identity. It is the moment when the self breaks free of itself, forgets itself to let another's voice be heard. Therefore, the artistic construction the composition of a painting is unforeseen and, therefore, foreign to the one who does it (as if the deed did not belong to him).

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Libros sobre el tema "Woodman, Francesca"

Woodman, Francesca. Francesca Woodman. Arles: Actes Sud, 1998.

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Marco, Pierini, SMS contemporanea y Complesso museale Santa Maria della Scala (Siena, Italy), eds. Francesca Woodman. Cinisello Balsamo, Milano: Silvana, 2009.

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Francesca, Woodman y Woodman George, eds. Francesca Woodman. London: Phaidon, 2006.

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Woodman, Francesca. Francesca Woodman. Cinisello Balsamo, Milano: Silvana, 2009.

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Woodman, Francesca. Francesca Woodman. Zurich: Scalo, 1998.

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Corey, Keller, Blessing Jennifer, Bryan-Wilson Julia, San Francisco Museum of Modern Art y Solomon R. Guggenheim Museum, eds. Francesca Woodman. New York: San Francisco Museum of Modern Art in association with D.A.P./Distributed Art Publishers, 2011.

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Woodman, Francesca. Francesca Woodman: Photographic work. [U.S.]: [Wellesley College Museum and Hunter College Art Gallery], 1986.

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Woodman, Francesca. Francesca Woodman, photographs, 1975-1980. New York: Marian Goodman Gallery, 2004.

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Ciancetta, Federica. Francesca Woodman: Desire and its discontents. London: LCP, 2003.

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Francesca Woodman and the Kantian sublime. Burlington, VT: Ashgate, 2009.

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Capítulos de libros sobre el tema "Woodman, Francesca"

Raymond, Claire. "Second Selves: Francesca Woodman, Ralph Meatyard, Bear Allison". En The Photographic Uncanny, 173–219. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28497-8_6.

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"Francesca Woodman". En Bachelors. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1504.003.0006.

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"Introduction". En Francesca Woodman and the Kantian Sublime, 1–20. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-1.

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"Mistresses". En Francesca Woodman and the Kantian Sublime, 21–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-2.

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"Woodman's Mirror Is an Enlightenment Mirror". En Francesca Woodman and the Kantian Sublime, 41–64. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-3.

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"Shaken Sublime". En Francesca Woodman and the Kantian Sublime, 65–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-4.

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"Inner Force, or, the Revelatory Body". En Francesca Woodman and the Kantian Sublime, 89–104. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-5.

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"Mechanics of Evanescence". En Francesca Woodman and the Kantian Sublime, 105–22. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-6.

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"Among the Ruins: Vertigo, Philobats, and Statues". En Francesca Woodman and the Kantian Sublime, 123–36. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-7.

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"Epilogue". En Francesca Woodman and the Kantian Sublime, 137–43. Routledge, 2017. http://dx.doi.org/10.4324/9781315093963-8.

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Actas de conferencias sobre el tema "Woodman, Francesca"

Mosaner, Renata Amado Sette. "A fruição da obra de Francesca Woodman a partir de suas exposições". En Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3440.

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Alves, Flávia Mantovani y Antonio Roberto Chiachiri Filho. "A SEMIOTIC ANALYSIS ON FRANCESCA WOODMAN’S ARTWORK". En New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-034.

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