This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.

The thesis focuses on texts written and translated by members of Group 42, Jiřina Hauková and Jiří Kolář, specifically. It begins with a description of 1940s' literary context, incorporating poetical principles stated by Jindřich Chalupecký, the leading theorist of the Group 42. The research section of the thesis begins with an analysis of Jiřina Hauková's Přísluní and Cizí pokoj and Jiřího Kolář's Křestný list, Ódy a variace and Limb a jiné básně, poetry collections directly influenced and heading towards the poetic principles of the Group 42. This is followed by an analysis of the translations of poems by Dylan Thomas, Carl Sandburg and T. S. Eliot, the key being a comparison of various published versions. In case of Thomas and Sandburg, these are versions by the same translator published in different selections; in case of Eliot, these are versions by different translators. The thesis is concluded by the answer to the question whether and to what extent Jiřina Hauková and Jiří Kolář fulfil the poetic requirements of the Group 42 and to what extent their own poetics are present in the translations.

This dissertation is devoted to a monographic processing of the work of sculptress Maria Bartuszová (1936, Prague - 1996, Košice). Methodologically, it is mainly based on the compilation and evaluation of knowledge from the in-depth research of the first list of works of M. Bartuszová "Catalogue Raisonné 2012-2018", Collection of drawings and photographs from the Archive of M. Bartuszová, biography, exhibitions and bibliography. It is divided into four chapters, in which it deals with the sculpture of M. Bartuszová, its transformations in the period of her ceramics studies at the Academy of Fine Arts, Design and Architecture during the 1950s in Prague, continues by tracking her sculptural beginnings since 1961, and it deals with the circumstances of her relocation to Košice where she lived most of her life. It tracks her work during the normalization period of the 1970s until the end of the 1980s, when the totalitarian regime ended with the Velvet revolution. It explores the reasons why her work was little exhibited and also why it was little known and reflected by the professional circles. Based on the process of assembling parts of the organism of her oeuvre reconstructs technological experimental procedures, original terminology of the sculptor, creative intentions, dating of works and their...

West European Impulses of Bulgarian Diabolism (A Look at the Bulgarian Literature of the 1920s) Abstract Keywords: Bulgarian literature, expressionism, avant-garde, diabolism, horror fiction, marvelous, uncanny, Menippean carnival discourse, romanticism, naturalism, individualism Svetoslav Minkov (1902-1966), Vladimir Poljanov (1899-1988), Georgi Rajčev (1882 - 1947), Čavdar Mutafov (1889-1954) Contrary to its generally innovative potential for Bulgarian literature, the phenomenon called Bulgarian diabolism has been a marginal one from the point of view of literary discourse. The interest of postmodern writers and reviewers has given rise to accentuating some of the partial aspects of the works of Svetoslav Minkov, Vladimir Polyanov, Georgi Raychev and Chavdar Mutafov. However, with the exception of Thomas Martin's monograph Der bulgarische Diabolismus. Eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934, published in 1993, works explicating the nature of the phenomenon in Bulgarian literature have been missing. Due to their novelty and impurity, the syncretic writings of Bulgarian diabolists, blending fading individualistic modernist tendencies together with elements of romantic fiction of horror in the generally expressionist roots of their works, were a phenomenon difficult to rank for their...

1 Abstract A monograph on Jan Kotík (1916-2002) introduces both his art and theoretical work, it deals with a historical and cultural context of the now-defunct Czechoslovakia. Kotík's - an artist's, theoretician's, published author's, educator's - artwork enjoys a prominent position in the context of Czech art of the second half of 20th century. An art-historical assessment of artwork was based on Kotik's artwork inventory and on all the documentation on Kotik's life and art work archived in the Documentation Department of the Institute of Art History of the Academy of Sciences of the CR and in private archives in the CR and Berlin. The study is based on a method of organic combination of biographical data and art-historical data with quotation of Kotik's theoretical texts. An evolution of artist's work is demonstrated chronologically with the context to Czech and world art. The monograph includes chapters: "Father Pravoslav's Art Studio and Study Years", "Art Group 42", "Possibilities of Applied Art", "Painting-Object", "Stay in Berlin", "Returns".

Ce mémoire s’intéresse à la notion d’expérimentation en jeu vidéo pour jeter un éclairage conceptuel productif sur le terme vague « jeu vidéo expérimental ». Postulant que le jeu vidéo s’inscrit à la fois dans le domaine des arts (par l’entremise de la création de composantes visuelles, audio ou narratives par exemple), des sciences (notamment parce qu’il dépend de l’avancement des nouvelles technologies numériques) et du design, l’auteur s’inspire des formes variées et parfois distinctes d’expérimentations à travers l’ensemble de ces domaines afin de décrire non pas une méthode expérimentale unique, mais un espace vaste composé de multiples démarches expérimentales. L’auteur montre finalement comment l’on peut réfléchir l’espace expérimental d’un jeu en s’inspirant de la systémique, puis relève quelques formes et figures expérimentales uniques aux domaines ludiques et vidéoludiques. Ce mémoire inclut aussi un compte rendu rétrospectif de création ainsi que quelques réflexions autour d’une oeuvre développée par l’auteur tout au long de sa recherche, l’album musical vidéoludique pour ordinateur Hoverboy. D’abord imaginée comme une oeuvre foncièrement expérimentale, l’auteur revient sur son processus de création et recadre sa démarche en fonction de ses réflexions théoriques autour de la notion d’expérimentation vidéoludique. Cette double démarche de recherche et de création menée en parallèle ouvre des réflexions méthodologiques sur la recherche-création. / This thesis examines the notion of experimentation in video games to shed a productive conceptual light on the vague term “experimental video game”. Postulating that video games are simultaneously part of the arts (through the creation of visual, audio, and narrative components for example), sciences (notably because it relies on technological advancements), and design, the author leans on by the varied and sometimes distinct forms of experimentation across all these fields in order to describe not one singular experimental method, but a vast space which consists of multiple experimental approaches. The author finally shows how we can contemplate the experimental space of a game by drawing inspiration from systems theory, then identifies some unique experimental forms and figures in games and video games. This thesis also includes a retrospective creation report journal as well as some observations on a work developed by the author throughout their research, the computer-based videoludic music album Hoverboy. First imagined as a fundamentally experimental work, the author looks back on their creative process and reframes their approach regarding their theoretical observations around the notion of video game experimentation. This dual approach of research and creation carried out in parallel leads to methodological discussions on research-creation.

Indiana University-Purdue University Indianapolis (IUPUI) / Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.

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