"Self- Portrait" – A Study of the 'Self':

More documents

Recommendations

Info

Then the big "Who am I" question, which kept echoing between me and the mirror, was joined by a second question: Why am I doing this? What is really going on here? What kind of answers are these portraits giving me? And that was the genesis of this study ― to research this method of self- investigation. If till now I have inquired into myself secretly, now I am opening an official investigation. I return to the 'mirror stage', the developmental stage when a baby discovers himself as an object, exposed to himself and the world. Like that same baby who, filled with wonder, meets his own image, here I am, an adult but enough of a child to re-echo that imploring question: "Mirror, mirror, on the wall…" VIII ILS. 1: Partial of the Portrait
PART I INTRODUCTORY: THE 'SELF' AND THE 'STUDY' In this chapter: Chapter 1: THE ARTIST / RESEARCHER DECLARATION 1.1 Art, Research and the Investigation of the 'Self' 1.2 Painting a 'Self- Portrait' – Phenomenon – Human Behaviour 1.3 Why a Painting of a 'Self – Portrait' – Why I 1.4 Art- Based Research 1.5 The Hermeneutic Circle – Self Development Summary _____________ "Man is still a riddle unto himself. The portraits he creates represent only a small part of what he knows about himself, but mainly his wondering and searching. They testify but do not teach anything. Those who wish to understand must first of all open their eyes and ears to these testimonies. (Werbelovsky, 1992) 1
Page 1 and 2: Anglia Ruskin University "Self- Por
Page 3 and 4: Chapter 4: The Language of Art 4.1
Page 5 and 6: Chapter 12: Summary and conclusions
Page 7 and 8: List A - Diagrams and Tables Part I
Page 9 and 10: Number ILS. 1: ILS. 2: ILS. 3: ILS.
Page 11 and 12: List C - Figures of the Findings Nu
Page 13 and 14: Fig. 23: 6 Paintings - Black and Wh
Page 15 and 16: Fig. 57(a, b, c): 18 Items - Detail
Page 17 and 18: Abstract The research proposes a mo
Page 19: diligent work. Sometimes, sick and
Page 23 and 24: Bruce, 1999; Lurie, 2006). Rembrand
Page 25 and 26: Artists who chose painting self - p
Page 27 and 28: aise hidden entities from the inner
Page 29 and 30: esearcher, leads this approach and
Page 31 and 32: Introduction; Chapter 3 - Designing
Page 33 and 34: definition of Hohenstein 'art knowl
Page 35 and 36: individuals. This phenomenon appear
Page 37 and 38: and it will be what the interpreter
Page 39 and 40: treating the patient but as part of
Page 41 and 42: taking place. This study researches
Page 43 and 44: Chadwick 1998, 2001; West, 2004). T
Page 45 and 46: self-portrait, therefore I investig
Page 47 and 48: 2.5 Creation and Investigation 2.5.
Page 49 and 50: Primary thought processes exert a d
Page 51 and 52: I have chosen an approach that allo
Page 53 and 54: 2. Keeping doing this consistently
Page 55 and 56: Diagram 1: The Disciplines involved
Page 57 and 58: through a work of art, about a work
Page 59 and 60: 3. Subject investigates object (fil
Page 61 and 62: 3.4.3 The Research Object In painti
Page 63 and 64: 'What' is the methodology needed to
Page 65 and 66: In this chapter: 4.1 Origins 4.2 Fo
Page 67 and 68: that grants a tangible shape to fee
Page 69 and 70: Extending this understanding of the
Page 71 and 72:
Mukarovsky (1983) explains that sur
Page 73 and 74:
4.2.3 Single, Primary Artistic Mean
Page 75 and 76:
Other single artistic means, omitte
Page 77 and 78:
McNiff (1998), an art therapist, cr
Page 79 and 80:
In this chapter: Chapter 5: METHODO
Page 81 and 82:
My creative activity developed in a
Page 83 and 84:
Dilthey is the most prominent repre
Page 85 and 86:
5.2.3 Supplementary Research Approa
Page 87 and 88:
designate the boundaries of time, p
Page 89 and 90:
2. Meetings and conversations with
Page 91 and 92:
Table 1: Data Classification into O
Page 93 and 94:
5.4.2 Intertextuality Intertextuali
Page 95 and 96:
need translocations and metaphors.
Page 97 and 98:
Para-textuality - Table 2: The Comp
Page 99 and 100:
5.5 Truth, Validity and Reliability
Page 101 and 102:
5.5.3 Reliability and Validity The
Page 103 and 104:
process. The limits of the research
Page 105 and 106:
Is it appropriate for a researcher
Page 107 and 108:
classified and managed. I discuss i
Page 109 and 110:
PART Il THE INQUIRY: THE PORTRAIT A
Page 111 and 112:
Diagram 8a (1): Style and Genre - G
Page 113 and 114:
Diagram 8b (3): Visual Values - Org
Page 115 and 116:
How the Findings (Paintings) are di
Page 117 and 118:
In this chapter: 6.1 Super-Finding:
Page 119 and 120:
3 1 99 2 4
Page 121 and 122:
6.2 The Artist's 'Act of Choice' Th
Page 123 and 124:
the researcher to identify these co
Page 125 and 126:
people perceived the thundering and
Page 127 and 128:
say that the artist chooses water a
Page 129 and 130:
6.5 Extra-Textual Affinity - Conver
Page 131 and 132:
Fig. 3: 4 Items - 'Object - Book' -
Page 133 and 134:
(c) From Object to Installation - S
Page 135 and 136:
115
Page 137 and 138:
This installation was created from
Page 139 and 140:
hundreds, and all these together cr
Page 141 and 142:
1 1 3 121 2 2 Installation Exhibiti
Page 143 and 144:
123
Page 145 and 146:
Summary The study’s single 'case
Page 147 and 148:
In this chapter: 7.1 Image and Writ
Page 149 and 150:
3 1 129 2 4
Page 151 and 152:
7.2 Image and Writing in Art The en
Page 153 and 154:
When the artist was occupied with h
Page 155 and 156:
(a) Encounter - "One on One, One ne
Page 157 and 158:
Fig.8 (1) reinforces this for one e
Page 159 and 160:
The random two sentences marked by
Page 161 and 162:
These findings present several situ
Page 163 and 164:
7.4.1 Dialogue - Texts Developing f
Page 165 and 166:
7.5 Images with Handwriting text on
Page 167 and 168:
. 1 2 147
Page 169 and 170:
1 2 The researcher differentiates b
Page 171 and 172:
5 1 9 2 6 10 In these images newspa
Page 173 and 174:
Summary Ils 4: Image with Headings
Page 175 and 176:
In this chapter: Introductory Summa
Page 177 and 178:
Introductory Summary Having in Chap
Page 179 and 180:
1 13 5 2 6 159 3 15 7 4
Page 181 and 182:
1 4 1 2 5 161 2 3 6
Page 183 and 184:
enewal. Netzer (2004) points at the
Page 185 and 186:
The strategy of the artist to keep
Page 187 and 188:
1 1 1 2 2 167 3 3
Page 189 and 190:
The penetration of this colour symb
Page 191 and 192:
The colours infiltrating the black
Page 193 and 194:
Fig. 27, shows the use of a variety
Page 195 and 196:
The image of the bird that appeared
Page 197 and 198:
8.4.1 Findings Kandinsky considered
Page 199 and 200:
1 3 1 1 179 2 4 3 2
Page 201 and 202:
8.5 Dominant Colour - Red ILS. 12:
Page 203 and 204:
1 5 13 9 2 14 3 6 7 10 183 15 11 4
Page 205 and 206:
8.5.2 Red - Symbol and Significance
Page 207 and 208:
8.6.1 The Findings Fig. 42: 7 Paint
Page 209 and 210:
8.6.2. Yellow - Symbol and signific
Page 211 and 212:
Regarding the dialogue between colo
Page 213 and 214:
sounds. The two colours polarity of
Page 215 and 216:
In the encounter of the elementary
Page 217 and 218:
Red & Green 1 3 1 2 5 2 197 1 3 6 4
Page 219 and 220:
is expressed in a number of finding
Page 221 and 222:
In this chapter: 9.1 Drawing in Cha
Page 223 and 224:
The use of this technique and these
Page 225 and 226:
The dialogue between line and Tone
Page 227 and 228:
8 Line encounters Tone of Colour in
Page 229 and 230:
1 5 1 2 209 4
Page 231 and 232:
lurred everything. I painted thin,
Page 233 and 234:
A repeating pattern is a form of ex
Page 235 and 236:
At first glance such patterns (Fig.
Page 237 and 238:
The technique of aquarelle is based
Page 239 and 240:
This technique introduces the subje
Page 241 and 242:
The terms 'collage' and 'assemblage
Page 243 and 244:
When the artist chooses a book as t
Page 245 and 246:
225
Page 247 and 248:
Chapter 10: STRUCTURE AND ORGANISAT
Page 249 and 250:
10.1.1 Findings and Interpretation
Page 251 and 252:
Fig. 75 (a, b): 6 Paintings - Part
Page 253 and 254:
This finding shows a partial face.
Page 255 and 256:
9 8 235 10
Page 257 and 258:
Here, disassembly takes another for
Page 259 and 260:
Zemach (1992) summarises it thus: "
Page 261 and 262:
SUMMARY TO THE INQUIRY 1 The chapte
Page 263 and 264:
I did not look for one absolute, un
Page 265 and 266:
Foreword This research study has tw
Page 267 and 268:
Diag.11 The 'Chain of Observations'
Page 269 and 270:
11.1 Split 1: Unification and Separ
Page 271 and 272:
The split that occurs at the 'mirro
Page 273 and 274:
hint or as Lacan (in Vanier, 2003)
Page 275 and 276:
The 'subject' is the person facing
Page 277 and 278:
profane ('Book Object', Readymade',
Page 279 and 280:
Lacan (in Vanier, 2003) defines it
Page 281 and 282:
Diag. 14: Split 3: ' Ego' and 'Self
Page 283 and 284:
'Ego' and 'self' join and collabora
Page 285 and 286:
history in a continuous process of
Page 287 and 288:
differentiates between the individu
Page 289 and 290:
11.7 Ego Designs a Portrait-Myth Ar
Page 291 and 292:
Chapter 12: THESIS SUMMARY Conclusi
Page 293 and 294:
4. My research broadens the concept
Page 295 and 296:
Chapter 13: IMPLEMENTATION AND VALI
Page 297 and 298:
interdisciplinary intersubjective,
Page 299 and 300:
As a creator and researcher I went
Page 301 and 302:
the potential of the 'ego'. In my r
Page 303 and 304:
13.2.2 The 'Artistic - Activity' Th
Page 305 and 306:
In this way he gives meaning to the
Page 307 and 308:
The participants in the workshop ha
Page 309 and 310:
the human being (Frankl, 1981). The
Page 311 and 312:
create works of art of universal va
Page 313 and 314:
My journals divulge that there were
Page 315 and 316:
During the course of the research I
Page 317 and 318:
References Abraham, A. (1989) The V
Page 319 and 320:
At: http://www.qualitative-research
Page 321 and 322:
Diamant, A. ( 2005) The Red Tent. (
Page 323 and 324:
Environment Journal. (Vol.5 22-24).
Page 325 and 326:
Klein, M. (1975) The Writings of Me
Page 327 and 328:
McNiff, S. (1998) Art-Based Researc
Page 329 and 330:
Reinhart, T. (2000) From Cubism to
Page 331 and 332:
Shoshani, A. (2002) Experience and
Page 333 and 334:
Van Gogh, V. (1992) Letters to Theo
Page 335 and 336:
App. No List D - Table of Appendice
Page 337 and 338:
2. To develop a method of analysis
Page 339 and 340:
The complete process has been docum
Page 341 and 342:
The research to examine the hidden
Page 343 and 344:
paintbrush for a painting that will
Page 345 and 346:
The research examines their signifi
Page 347 and 348:
This sentence can serve as a headin
Page 349 and 350:
1 2 Again, Dadaism peeks out of the
Page 351 and 352:
The words and sentences randomly ma
Page 353 and 354:
And the fisherman’s heart beats.
Page 355 and 356:
formative struggle takes place betw
Page 357 and 358:
Fig. 13(b): - 1 item - Handwriting
Page 359 and 360:
is hinting about reflection, self o
Page 361 and 362:
Here, too, the curled and uniform w
Page 363 and 364:
directing decision. Naturally, some
Page 365 and 366:
8 1 3 6 9 30 4 7 2 5
Page 367 and 368:
Fig. 12(c): 1 Item - Letters and Bi
Page 369 and 370:
Thus, handwriting has led the reade
Page 371 and 372:
ecomes a work of art about self-por
Page 373 and 374:
Here too the artist uses greyish: n
Page 375 and 376:
According to ancient beliefs, a lun
Page 377 and 378:
Appendix 3 8.1 Black and White PART
Page 379 and 380:
But maybe a lot of power is hiding
Page 381 and 382:
suddenly, I understand that these a
Page 383 and 384:
The artist has discussed the issue
Page 385 and 386:
everything. Nothing interests me [
Page 387 and 388:
he came near the sun and the water
Page 389 and 390:
Lips are sensual organs that transm
Page 391 and 392:
In her journal the artist writes: "
Page 393 and 394:
Fig. 40 combines two strong symbols
Page 395 and 396:
Athena `represent "independence and
Page 397 and 398:
this work through. The yellow expre
Page 399 and 400:
. Fig. 36: 1 Detail - Finding from
Page 401 and 402:
5 The dialogue sharpens and now the
Page 403 and 404:
13 12 1 71 14
Page 405 and 406:
The word leaf appears in different
Page 407 and 408:
constrictions and work freely and t
Page 409 and 410:
(A2 (a) 8.8.04). On both sides of t
Page 411 and 412:
parts (images, shapes, parts of the
Page 413 and 414:
16 Fig. 55 shows some of the portra
Page 415 and 416:
The assumption is that when the art
Page 417 and 418:
drawing process, as part of the act
Page 419 and 420:
A phenomenon of an eye poking out a
Page 421 and 422:
Avrahami leads and guides: “As op
Page 423 and 424:
The study pointed at the situations
Page 425 and 426:
Elsewhere the study represents each
Page 427 and 428:
dipped into the 'dying lake', dived
Page 429 and 430:
of this study ― a core and key fi
Page 431 and 432:
Fig. 59 (4) depicts a figure reflec
Page 433 and 434:
101
Page 435 and 436:
Appendix 5 Chapter 10: ORGANISATION
Page 437 and 438:
The above three findings describe a
Page 439 and 440:
In an analogy to Jung's approach (1
Page 441 and 442:
The findings from group 2D - from t
Page 443 and 444:
Fig. 83: 4 Paintings - Dismantling
Page 445 and 446:
Fig. 85: 6 Paintings - Transformati
Page 447 and 448:
Fig. 87: 6 Paintings -Transformatio
Page 449 and 450:
Glossary 1 Act of Separation: A cri
Page 451:
Single, Primary Formative artistic
show all

"Self- Portrait" – A Study of the 'Self':

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?