Cosmetic Orbital Inferomedial Decompression: Quantifying the Risk of Diplopia Associated With Extraocular Muscle Dimensions

Purpose: To quantify the risk of new diplopia in inferomedial orbital decompression performed for cosmetic reasons. Methods: Retrospective analysis of 114 patients with Graves orbitopathy who underwent an inferomedial orbital decompression. No patient had diplopia in any of the gaze positions or optic neuropathy. A single coronal slice 9 mm posterior to the lateral orbital rim was employed to quantify the muscular index of the extraocular recti and of the superior complex. A control group of 56 patients imaged for other reasons were also measured. After surgery the oculomotor status of all patients who complained of diplopia and of 51 patients free of diplopia was measured with the prism and cover test in the primary and secondary gaze positions. Results: The rate of new-onset diplopia was 14.0% (16 patients). Eye deviations were confirmed in 14 patients. Of these, 10 had significant strabismus that warranted surgical or prism treatment. Most patients had esotropia associated with small vertical deviations. The size of the medial and inferior recti was significantly associated with the development of diplopia. The estimated odds for the appearance of diplopia in patients with muscle enlargement was 12.76 (medial rectus) and 5.21 (inferior rectus). Small-angle deviations were also detected in 27.4% of patients who did not experience diplopia. Conclusions: Medial and inferior recti enlargement is a strong predictor of new-onset diplopia. A large number of patients who do not report diplopia also present with small-angle deviations. (Ophthal Plast Reconstr Surg 2012;28:204-207)

All the rest is merely exploitation and perseverance : the poster art of Frank Kozik

"The history of poster art tends to focus on the art of Henri Toulouse-Latrec, Jules Cheret, and Alfonse Mucha, while leaving out or barely mentioning the work of artists such as Wes Wilson, Stanley Mouse, and Alton Kelley. The aim of this thesis is to widen the gaze of poster art by centering on a contemporary rock poster artist: Frank Kozik. By focusing on formal and sociological analysis ofa number of Kozik's posters, I illustrate how he not only fits in with the arc of poster art development, but also influences it into the next century"

Modeling the role of fixational eye movements in real-world scenes

Our eyes never remain still. Even when we stare at a fixed point, small involuntary movements take place in our eyes in an imperceptible manner. Researchers agree on the presence of three main contributions to eye movements when we fix the gaze: microsaccades, drifts and tremor. These small movements carry the image across the retina stimulating the photoreceptors and thus avoiding fading. Nowadays it is commonly accepted that these movements can improve the discrimination performance of the retina. In this paper, several retina models with and without fixational eye movements were implemented by mean of RetinaStudio tool to test the feasibility of these models to be incorporated in future neuroprostheses. For this purpose each retina model has been stimulated with natural scene images in two experiments. Results are discussed from the point of view of a neuroprosthesis development.

Eye Gaze Behavior at Turn Transition: How Aphasic Patients Process Speakers' Turns during Video Observation

The human turn-taking system regulates the smooth and precise exchange of speaking turns during face-to-face interaction. Recent studies investigated the processing of ongoing turns during conversation by measuring the eye movements of noninvolved observers. The findings suggest that humans shift their gaze in anticipation to the next speaker before the start of the next turn. Moreover, there is evidence that the ability to timely detect turn transitions mainly relies on the lexico-syntactic content provided by the conversation. Consequently, patients with aphasia, who often experience deficits in both semantic and syntactic processing, might encounter difficulties to detect and timely shift their gaze at turn transitions. To test this assumption, we presented video vignettes of natural conversations to aphasic patients and healthy controls, while their eye movements were measured. The frequency and latency of event-related gaze shifts, with respect to the end of the current turn in the videos, were compared between the two groups. Our results suggest that, compared with healthy controls, aphasic patients have a reduced probability to shift their gaze at turn transitions but do not show significantly increased gaze shift latencies. In healthy controls, but not in aphasic patients, the probability to shift the gaze at turn transition was increased when the video content of the current turn had a higher lexico-syntactic complexity. Furthermore, the results from voxel-based lesion symptom mapping indicate that the association between lexico-syntactic complexity and gaze shift latency in aphasic patients is predicted by brain lesions located in the posterior branch of the left arcuate fasciculus. Higher lexico-syntactic processing demands seem to lead to a reduced gaze shift probability in aphasic patients. This finding may represent missed opportunities for patients to place their contributions during everyday conversation.

La ballerine illettrée:transformations of the feminine in Mallarmé's sance writings

Stéphane Mallarmé's texts on dance criticism occupy a prominent place in dance literature. They have also been of major interest to the Mallarme specialists who have seen in them the key to a greater understanding of the whole of his work. In this article I determine how his dance writings can be interpreted in the context of the whole of the œuvre, including for example the women's magazine he wrote and produced, La Dernière Mode. I establish to what extent the female presence in Mallarmé's poetry tends towards metaphors, women's bodies absent or negated by the gaze of the poet. As the poet responds to the stimulus of the dance, he divests the female dancer of her womanly characteristics, recasting her in his own imagination both as feminine principle and incarnation of 'l'Idée', and also as mythical being, 'au-delà de toute vie possible', a composite of other female characters inhabiting his œuvre, constantly poised between presence and absence, stillness and movement, a locus for a precarious balance which is endlessly re-enacted in h.is own writing practice.

Medalhistas de ouro nas Paraolimpiadas de Atenas 2004 : reflexões de suas trajetorias no desporto adaptado

Universidade Estadual de Campinas . Faculdade de Educação Física

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

A questão visual na oftalmologia pediátrica da região de Lisboa

RESUMO: Na parte inicial incluem-se algumas notas sucintas com base no panorama científico,histórico e cultural da visão considerada segundo três abordagens - o olho (o olho humano na especificidade da sua posição filogenética, elemento anátomo-funcional básico do sistema visual ao qual o cérebro pertence), os olhos (unidades gémeas essenciais do rosto na sua actividade consensual e conjugada da binocularidade), o olhar (carregado de expressão psicológica e o seu efeito sobre o observador, sinal para o comportamento e criador de sentimentos, sedimentado em obras de arte e em formas de superstição dos povos). Segue-se a apresentação de um estudo descritivo transversal, como contribuição para o conhecimento do estado de saúde visual da população infantil da região de Lisboa e determinar factores que o influenciam. Entre Outubro de 2005 e Agosto de 2006 examinaram-se 649 crianças com idade inferior a 10 anos da Consulta de Oftalmologia Pediátrica dos Serviços de Assistência Médico-Social do Sindicato dos Bancários do Sul e Ilhas (SAMS). Colheram-se dados respeitantes a mais de 250 variáveis primárias que cobriram a maior parte dos itens do exame oftalmológico habitual. Na análise dos dados teve-se especialmente em conta a idade, com um papel decisivo nas principais fases de desenvolvimento do sistema visual. No caso das crianças de 6 a 7 anos de idade põem-se lado a lado resultados dos SAMS e das Escolas. A profusão de dados numéricos ditou a necessidade da determinação frequente da significância estatística dos resultados de subgrupos. Alguns resultados do estudo, na sua maioria do grupo SAMS: Crianças de 6-7 anos, 71,1% (SAMS) e 91,5% (Escolas) não tinham sido examinadas com menos de 4 anos. Frequência global de alterações miópicas 9,4%, de alterações hipermetrópicas 25,3%, umas e outras com variações acentuadas com a idade. Estrabismo convergente 3,9%. Ambliopia 2,6% (13/491 crianças >=4 anos de idade), mais frequente no sexo feminino, naquelas que tiveram a sua 1ª observação depois dos 4 anos e em que os pais não aderiam à terapêutica prescrita. Objectivos específicos ocuparam-se da acuidade visual e da refracção ocular. O estudo comparativo da refractometria automática sem e com cicloplegia permitiu evidenciar que o teste da acuidade visual é insuficiente, por si só, para fazer o diagnóstico correcto. A análise dos antecedentes familiares oftalmológicos demonstrou a importância do seu conhecimento e pôs em evidência, entre outras, as seguintes relações: 10 pag1.qxp 27-11-2001 18:28 Page 10 Índice Geral 11 Crianças com antecedentes de alterações miópicas têm maior frequência de diagnóstico de alterações miópicas e de refracção negativa, uma taxa mais elevada de correspondência quantitativa diagnóstico/refracção nas alterações miópicas. Estas crianças também têm, em geral, características inversas no que diz respeito a alterações hipermetrópicas. Crianças com antecedentes de alterações hipermetrópicas têm maior frequência de diagnóstico de alterações hipermetrópicas. Crianças com antecedentes de estrabismo têm maior frequência de diagnóstico de estrabismo convergente manifesto e de esodesvios no seu todo. Crianças com antecedentes familiares de astigmatismo têm maior frequência de diagnóstico de astigmatismo. Traçam-se alguns perfis oftalmológicos infantis que permitem apreciar de forma sinóptica um conjunto de parâmetros da saúde da visão. Os dados colhidos sobre a aderência dos pais à terapêutica prescrita e sobre a atitude em relação ao uso de óculos assim como os dados sobre o comportamento da criança na sala de aula e dificuldades de aprendizagem foram em geral escassos para permitirem tirar conclusões, embora mostrem indícios a investigar futuramente. Paralelamente ortoptistas e enfermeiras efectuaram um rastreio escolar da acuidade visual <0,8 e de alterações da motilidade ocular extrínseca que abrangeu 520 alunos do 1º ano do 1º ciclo do ensino básico (2005/2006) das escolas públicas da cidade de Lisboa. 101 destas crianças foram observadas no consultório da autora, umas referidas a partir do rastreio, outras como controlo deste. Quanto à acuidade visual o valor preditivo do teste negativo foi de 91% mas o do teste positivo de apenas 67% (33% de falsos positivos, consequentemente uma alta taxa de sobrerreferenciação). A qualidade do rastreio efectuado por ortoptistas foi inferior à do efectuado por enfermeiras. O rastreio não teve qualidade aceitável. Foi feito um inquérito a médicos e enfermeiros de centros de saúde sobre conhecimentos, atitudes e práticas em relação com os cuidados de oftalmologia pediátrica. Discutem-se os resultados, tiram-se conclusões e fazem-se recomendações susceptíveis de contribuir para uma melhor saúde visual das crianças. ABSTRACT: Firstly some brief remarks are made based on the scientific, historical and cultural panorama of the human vision with regard to three approaches: the eye (the human eye in its specific filogenetic place, fundamental anatomofunctional element of the visual system in interaction with the brain), the eyes (essential twin units of the face with their consensual and conjugated binocular activity), the gaze (psychologicaly overloaded, a means to express oneself and to influence the observer, a guide to other persons' behaviour, consolidated in works of art and in people's traditional superstitious believes and ways of thinking). A report is made on a cross-sectional descriptive study whose goal is to contribute to the knowledge of the level of visual health of children in the Lisbon Region and to identify factors which determine it. Between October 2005 and August 2006 649 children under 10 years were observed at the pediatric ophthalmologic consultation in the SAMS (Serviços de Assistência Médico-Social do Sindicato dos Bancários do Sul e Ilhas). Data were collected concerning more than 250 primary variables covering most itens of the usual ophthalmological examination. Special attention was paid to children's age since it plays a crucial role in main stages of visual system development. In the case of children age 6 to 7 SAMS and school results are often put side by side. On account of the great number of numerical data it was often necessary to look at the degree of statistical significancy of differencies between subgroups. Some of the study's results (mostly SAMS): Children age 6 to 7 - 71,1% (SAMS) and 91,5% (Schools) had not an ophthalmologic examination before 4 years old. Total frequency of myopic disorders 9,4%, of hypermetropic disorders 25,3%, both showing great differences between age groups; convergent strabismus 3,9%; amblyopia 2,6% (13/491 children over 3 years old), more frequent among little girls, in those with 1st examination after 4 years old and in those whose parents didn´t complied to the therapy ordered for the child. Specific objectives dealt with visual acuity and ocular refraction. The comparison of automatic refractometry without and with cycloplegy showed that visual acuity testing is often not enough for a correct diagnosis. Eye disorders in the family history proved to be a very important information. Analysis of corresponding data disclosed a lot of relationships among others: 12 pag1.qxp 27-11-2001 18:28 Page 12 Índice Geral 13 Children with a family history of myopic disorders have more frequently a diagnosis of myopic disorders and a negative refraction, a higher rate of quantitative diagnosis/refraction matching concerning myopic disorders. Those children have in general inverse characteristics regarding hypermetropic disorders. Children with a family history of hypermetropic disorders have more frequently a diagnosis of hypermetropic disorders. Children with a family history of strabismus have more frequently a diagnosis of manifest convergent strabismus and all forms of esodeviations. Children with a family history of astigmatism have more frequently a diagnosis of astigmatism. Ophthalmologic profiles are drawn allowing to take into account in a synoptic way a set of visual health parameters. Data on parents' compliance with therapy ordered for the child, and attitudes regarding child's glass wearing, as well as data on child's behaviour in the classroom and learning difficulties were as a rule too few to allow conclusions but still need more studies in the future. Orthoptists and nurses performed in the same study period a screening of visual acuity <0,8 and of ocular motility disorders addressed to children of 1srt degree of public schools (term 2005/2006) in the town of Lisbon. 520 of such children were screened. 101 of them were examined by the author in her medical office; some were refered, the others taken as a control. Regarding visual acuity the predictive value of a negative test was 91% but the predictive value of a positive test was only 67% (33% of false positive results, consequently a too high rate of overreferal). Performed by orthoptists screening quality was inferior in comparison with screening done by nurses. On the whole this screening had not the required quality. A survey on physicians' and nurses' knowledge, attitudes and practices related to pediatric ophthalmologic care was carried out in health centers. Results are discussed, conclusions drawn. Some suggestions are made aiming at a better children's visual health.

Den vårdande och helande bilden: möten med bildkonst i vårdandets värld

Denna vårdvetenskapliga avhandling syftar till att avtäcka och belysa en vårdande och helande dimension vid existentiellt lidande patienters möten med bildkonst inom vårdkontext. Kunskapssökandet sker i två studier. Den första (studie I) är en ikonografi sk tolkning av konstnären Matthias Grünewalds (ca 1460–1528) senmedeltida altarskåpsmålningar. I studien uttolkas lidandets uttryck och narrativa budskap samt symboliska gestaltningar av vårdande och helande i valda delar av detta s.k. Isenheimaltares bildprogram. Tolkningen utgår från rekonstruktionen av altarskåpets ursprungskontext, det medeltida Isenheimklostret, där svårt sjuka och döende patienter vårdades. I studie två (II) fortsätter sökandet i den moderna hospicevårdens kontext med hjälp av en kvalitativ intervjustudie som utforskar patienters meningsskapande vid möten med självvald bildkonst (oljemålningar och akvareller av fi nländska konstnärer som donerats till det sjukhus där intervjustudien gjordes). Forskningsansatsen är inspirerad av Hans-Georg Gadamers (1901–2002) hermeneutik. Vidare används några nyare tolkningsteoretiska ansatser inom bildkonstens område. Forskningens tolkningsresultat visar att bildkonsten har potentialer såväl på ett miljöestetiskt plan som på en djupare individuell symbolnivå. Som designkomponent i vårdmiljöns rumsliga gestaltning bygger bildkonsten in estetiska, etiska och andliga kvaliteter utifrån tidsmässiga och kulturella koder. I den medeltida klostervårdens kontext sammanföll bildkonstens dekorativa betydelse med andliga och helande syften. När det gäller självvalda konstverk i den moderna vårdkontexten bidrar de till det enskilda patientrummets atmosfär på ett unikt sätt utifrån patientens personlighet och behov. På en fördjupad mötesnivå, i samspel med bildens symboliska funktion, sker en inlevelsemässig förfl yttning in i bildens värld. Betraktarens inlevelse aktiveras till en transcenderande rörelse som går bortom det faktiska rummets och den reella tidens gränser. Vid resor i konstens bildvärld spelas minnesvärda händelser upp från det förgångna, men även framtiden kommer betraktaren till mötes. I en existentiell livssituation söker människan i konstverkets bildinnehåll efter symbolisk mening som kan ge svar på lidandets frågor. Bilderna iscensätter då helande motbilder som utgör korrektiv i symboliska former när olika existentiella förluster hotar. När livet förbleknats av sjukdom besvarar bildvärlden den lidandes blick med lysande violer som blommar upp, ger livskraft och bekräftar personens värdighet mitt i det förvissnande människolivet. När ångest och otrygghet nalkas inbjuds betraktaren till besök i landskap som utvidgar sjukhusrummets väggar mot hemgårdens trygghet. Där livet hotas av förgänglighet tar bildvärlden människan med sig till naturens eviga återfödelse. Upplevelsen av att vara delaktig i ett större och heligt sammanhang öppnar vägen ut ur lidandets avskurenhet. I medeltidens vårdkontext erbjöd den sakrala bilden en kollektiv och helande Symbolon som genom sin representationskraft synliggjorde det osynliga. Vid bildmöten i den moderna hospicevårdens kontext var det naturteman som gläntade på dörren till ”det hemliga rummet i djupet av hjärtat”. Forskningen antyder att även om meningsskapandet i ett bildmöte är avhängigt tidsepok, betraktarens förförståelse och kulturella kontext samt typen av bilder kan bildsymboliken, generellt förstådd som den saknade formen eller det saknade livssammanhanget, framvisa en helande och hoppingivande ordning i lidandets kaos.

De Jocaste à Lolita : Œdipe et l'hypersexualisation des jeunes filles au cinéma

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de ses documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal

Terreur au féminin : érotisation, regard et pouvoir dans le cinéma d'horreur contemporain

Le cinéma d’horreur, plus particulièrement le slasher, sous-genre qui a émergé dans les années 1980, a souvent été le lieu pour l’exploration d’enjeux sexuels. Les héroïnes qui ont marquées cette décennie ont connu une évolution parallèle aux changements socioculturels. Le présent projet vise à montrer la transformation de cette protagoniste au fil des décennies. Je m’intéresserai d’abord et avant tout à la théorie de Judith Butler qui montre le gender comme une construction sociale. Puis, ma démarche s’appuiera sur le rapport spectatoriel tel que développé par l’auteure Laura Mulvey dans son texte « Visual Pleasure and Narrative Cinema » ainsi que sur la notion de Final Girl théorisée par Carol J. Clover et qui concerne précisément les personnages de survivantes dans le slasher américain. À la lumière de ces études, j’analyserai trois films d’horreur produits au début des années 2000 : All the Boys Love Mandy Lane (2006), Teeth (2004) et May (2002). En plus de préciser les rouages liés à la construction du gender (féminin) et de l’identité sexuelle, ces études de cas serviront à présenter une nouvelle forme de personnage conscient de sa féminité et de son pouvoir.

Regards croisés sur le corps féminin dans les dessins érotiques d’Egon Schiele (1910-1911)

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Protection de la vie privée chez les jeunes adultes dans le contexte de leur utilisation de Facebook : ce qui dessine leurs choix

L’étude présentée dans ce mémoire concerne ce qui amène les jeunes adultes (18-25 ans) à afficher certains éléments et pas d’autres, sur Facebook, en relation avec leur conception personnelle de la vie privée. J’aborde ce processus en mobilisant les notions de présentation de soi, de relations en public et, plus particulièrement, de territoires du moi élaborées par le sociologue Erving Goffman (1973). Les territoires du moi sont ici perçus comme ce qui appartient à l’individu de manière privée et qu’il souhaite protéger. Ces notions de la pensée de Goffman sont pour moi interdépendantes puisque les territoires du moi d’une personne sont influencés à la fois par le rôle que la personne tient ainsi que par les normes et les règles encadrant l'interaction. Cette étude a été réalisée auprès de huit jeunes adultes âgés entre 18 et 25 ans. Une entrevue individuelle a été faite avec chacun d’entre eux. Lors de celle-ci, les participants avaient à présenter leur compte Facebook. Je les invitais, par exemple, à me raconter ce qui les motivait à afficher certaines choses, qui sont les personnes qui peuvent voir ces choses et, à l’inverse, ce qui n’a pas sa place sur la page Facebook et qui sont les personnes qui ne peuvent pas voir certaines publications. Suite à ce terrain, les analyses mettent en lumière sept dimensions s’inscrivant dans la pensée de Goffman qui dessinent la protection de ce que l’on pourrait nommer la vie privée. Il y a Se voir à travers le regard de l’autre et s’en inquiéter, Projeter une image de soi positive, Les amis Facebook : jamais nous n’avons eu autant d’amis, Flirt, relation de couple et cœur brisé : les relations amoureuses et Facebook, Avoir plusieurs rôles sur une même plateforme : la famille n’a souvent pas sa place, Gérer les paramètres de Facebook n’est pas si simple et Évolution de l’usage de Facebook : une question d’âge et un apprentissage. La plupart d’entre elles ont, pour ligne directrice, le regard de l’autre puisque l’inquiétude vis-à-vis celui-ci vient très souvent nuancer le choix de publications des usagés.

Vues imprenables ; suivi de Paradoxes du voir et de l'aveuglement dans Ceux d'à côté de Laurent Mauvignier

Vues imprenables est un récit où se succèdent les monologues de six personnages se trouvant dans un hôtel de luxe le temps d’une fin de semaine. À travers les détours discursifs que chaque personnage emprunte, les mécanismes textuels qu’il ou elle utilise pour éviter de dire et de se confronter aux réminiscences de ses fautes passées, la question du voir et de l’aveuglement se lie étroitement à celle du passage à l’acte. Quels forfaits ces hommes et ces femmes ont-ils commis ? Sont-ils capables de « se voir » réellement ? Quelle est la portée du regard sur le geste qu’ils ont antérieurement posé ? S’inspirant, entre autres, du jeu de société Clue, des Dix Commandements et de l’esthétique du film The Shining, Vues imprenables interroge la notion de repentir, cherchant à savoir jusqu’où le « voile » de la parole peut dissimuler certains actes, jusqu’à quel point le voir peut se révéler insaisissable. L’essai intitulé « Paradoxes du voir et de l’aveuglement dans Ceux d’à côté de Laurent Mauvignier » tisse également des liens avec Vues imprenables : en questionnant les limites et les possibilités du voir dans le roman de Mauvignier, il s’agit en effet d’analyser comment l’avènement de la vue, dans ce récit, laisse en tout temps présager sa possible perte, mais aussi de quelles façons le geste criminel devient « aveugle » au moment même où il est perpétré. En revisitant certains des plus grands mythes grecs, tels ceux d’Œdipe, de Tirésias et de Gorgô, cet essai étudie plus particulièrement la figure de l’alter ego, ce « moi à côté », tantôt coupable tantôt témoin, qui hante le récit de Mauvignier et il propose une réflexion sur les paradoxes du rapport au vu à partir des travaux d’Hélène Cixous, de Georges Didi-Huberman, de J.-B. Pontalis et de Maurice Merleau-Ponty.

Inversion comique ou critique satirique ? La vue du Capitole de Hieronymus Cock (1562)

Hieronymus Cock's view of the Capitoline Hill, published in 1562 series on Roman ruins, has long been considered a useful document by historians of art and architecture for the key historical and topographical information it contains on one of Rome's most celebrated sites during the Renaissance. Beyond its documentary nature, which, as will appear, was essentially rhetorical, the view also offers much information as to how a mid sixteenth-century Flemish artist might perceive Rome's illustrious topography and celebrated ancient statuary. In other words, Cock's engraving enables us to put into practice what may be called an "archaeology of the gaze". Through previously unnoticed details, Cock invents a comical - verging on the satirical - vision of the antique sculptures proudly displayed on the famous piazza. Such an ironical reversal of Italian classical dignity is typical of the attitude of some contemporary Flemish artists, such as Pieter Brueghel, who was then close to Cock, and exposes the ambivalent position of some Northern European artists towards the classical tradition and Italian art theory. Finally, the analysis of other engravings of ruins by Hieronymus Cock where two emblematic characters - the draftsman and the 'kakker' (the one who defecates) - appear side by side, sheds light on the origin and possible significance of these comical and subversive details.