Ourselves more truly and more strange: the shared point of view in first-person painting

This thesis, Ourselves More Truly and More Strange: The Shared Point of View inFirst-Person Painting, first explores the concept of first-person point of view as aunderutilized and rarely discussed alternative to the constructed space of linearperspective and surveys the rare instances of its use be...

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Detalles Bibliográficos
Autor: Morrison Higbee, Maxon
Tipo de recurso: tesis doctoral
Fecha de publicación:2026
País:España
Institución:Universidad Complutense de Madrid (UCM)
Repositorio:Docta Complutense
Idioma:inglés
OAI Identifier:oai:docta.ucm.es:20.500.14352/131053
Acceso en línea:https://hdl.handle.net/20.500.14352/131053
Access Level:acceso abierto
Palabra clave:75(043.2)
Painting
Shared Point of View
First-person point of view
Pintura
Punto de vista compartido
Primera persona
Pintura (Bellas Artes)
6203.07 Pintura
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oai_identifier_str oai:docta.ucm.es:20.500.14352/131053
network_acronym_str ES
network_name_str España
repository_id_str
spelling Ourselves more truly and more strange: the shared point of view in first-person paintingMás verdadero y más extraño: el punto de vista compartido de la pintura en primera personaMorrison Higbee, Maxon75(043.2)PaintingShared Point of ViewFirst-person point of viewPinturaPunto de vista compartidoPrimera personaPintura (Bellas Artes)6203.07 PinturaThis thesis, Ourselves More Truly and More Strange: The Shared Point of View inFirst-Person Painting, first explores the concept of first-person point of view as aunderutilized and rarely discussed alternative to the constructed space of linearperspective and surveys the rare instances of its use before the 20th century. It goeson to examine the paragone of painting with literature, where point of view, as anaspect of narrative voice, can create empathy (or apathy, or disdain) between thereader and the narrator. By asking, “Who is the narrator of a painting?” this study aimsto create a bridge between viewer and artwork, enhancing understanding andemotional resonance. Drawing on narratology (Genette, Barthes, Bal) and criticaltheories of perspective, dualism and the gaze (Sartre, De Beauvoir, Mach), the thesisexamines how the relationship between subject and object differs from that ofnarrator and narratee. Through a phenomenological approach, it explores theinterplay between artist, artwork, and viewer, seeking to redefine point of view inpainting as a shared experience that deepens engagement and promotes empathy.Universidad Complutense de MadridBlasco Castiñeyra, SelinaUniversidad Complutense de Madrid20262026-01-2620262026-01-26doctoral thesishttp://purl.org/coar/resource_type/c_db06info:eu-repo/semantics/doctoralThesisapplication/pdfhttps://hdl.handle.net/20.500.14352/131053reponame:Docta Complutenseinstname:Universidad Complutense de Madrid (UCM)Inglésengopen accesshttp://purl.org/coar/access_right/c_abf2info:eu-repo/semantics/openAccessoai:docta.ucm.es:20.500.14352/1310532026-06-02T12:44:21Z
dc.title.none.fl_str_mv Ourselves more truly and more strange: the shared point of view in first-person painting
Más verdadero y más extraño: el punto de vista compartido de la pintura en primera persona
title Ourselves more truly and more strange: the shared point of view in first-person painting
spellingShingle Ourselves more truly and more strange: the shared point of view in first-person painting
Morrison Higbee, Maxon
75(043.2)
Painting
Shared Point of View
First-person point of view
Pintura
Punto de vista compartido
Primera persona
Pintura (Bellas Artes)
6203.07 Pintura
title_short Ourselves more truly and more strange: the shared point of view in first-person painting
title_full Ourselves more truly and more strange: the shared point of view in first-person painting
title_fullStr Ourselves more truly and more strange: the shared point of view in first-person painting
title_full_unstemmed Ourselves more truly and more strange: the shared point of view in first-person painting
title_sort Ourselves more truly and more strange: the shared point of view in first-person painting
dc.creator.none.fl_str_mv Morrison Higbee, Maxon
author Morrison Higbee, Maxon
author_facet Morrison Higbee, Maxon
author_role author
dc.contributor.none.fl_str_mv Blasco Castiñeyra, Selina
Universidad Complutense de Madrid
dc.subject.none.fl_str_mv 75(043.2)
Painting
Shared Point of View
First-person point of view
Pintura
Punto de vista compartido
Primera persona
Pintura (Bellas Artes)
6203.07 Pintura
topic 75(043.2)
Painting
Shared Point of View
First-person point of view
Pintura
Punto de vista compartido
Primera persona
Pintura (Bellas Artes)
6203.07 Pintura
description This thesis, Ourselves More Truly and More Strange: The Shared Point of View inFirst-Person Painting, first explores the concept of first-person point of view as aunderutilized and rarely discussed alternative to the constructed space of linearperspective and surveys the rare instances of its use before the 20th century. It goeson to examine the paragone of painting with literature, where point of view, as anaspect of narrative voice, can create empathy (or apathy, or disdain) between thereader and the narrator. By asking, “Who is the narrator of a painting?” this study aimsto create a bridge between viewer and artwork, enhancing understanding andemotional resonance. Drawing on narratology (Genette, Barthes, Bal) and criticaltheories of perspective, dualism and the gaze (Sartre, De Beauvoir, Mach), the thesisexamines how the relationship between subject and object differs from that ofnarrator and narratee. Through a phenomenological approach, it explores theinterplay between artist, artwork, and viewer, seeking to redefine point of view inpainting as a shared experience that deepens engagement and promotes empathy.
publishDate 2026
dc.date.none.fl_str_mv 2026
2026-01-26
2026
2026-01-26
dc.type.none.fl_str_mv doctoral thesis
http://purl.org/coar/resource_type/c_db06
dc.type.openaire.fl_str_mv info:eu-repo/semantics/doctoralThesis
format doctoralThesis
dc.identifier.none.fl_str_mv https://hdl.handle.net/20.500.14352/131053
url https://hdl.handle.net/20.500.14352/131053
dc.language.none.fl_str_mv Inglés
eng
language_invalid_str_mv Inglés
language eng
dc.rights.none.fl_str_mv open access
http://purl.org/coar/access_right/c_abf2
dc.rights.openaire.fl_str_mv info:eu-repo/semantics/openAccess
rights_invalid_str_mv open access
http://purl.org/coar/access_right/c_abf2
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidad Complutense de Madrid
publisher.none.fl_str_mv Universidad Complutense de Madrid
dc.source.none.fl_str_mv reponame:Docta Complutense
instname:Universidad Complutense de Madrid (UCM)
instname_str Universidad Complutense de Madrid (UCM)
reponame_str Docta Complutense
collection Docta Complutense
repository.name.fl_str_mv
repository.mail.fl_str_mv
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score 15,812455

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