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This thesis is a radical reinterpretation of the Hannover Merzbau ( Cathedral of Erotic Misery) by Kurt Schwitters. It proposes and demonstrates that two of Schwitters' own photographs of the work should not be viewed as being descriptions of a "constructed" Merzbau, but rather understood as complex constructions that generate a critical questioning of the modern site of perception. / Through an exploration of language (as understood within Giambattista Vico's New Science) the photographs come to deconstruct themselves within a context of simultaneous readings; allowing both the "secret" space of the modern Merzbau, and the sacred place of the Cathedral to exist simultaneously.

Work of a lifetime and linked intimately to his own life, Kurt Schwitters' Merzbau is the expression of the MERZ collage, in a work that brings together architecture, theatre, sculpture, painting and literature. His work evolves through time, based on two specific moments: the extraction of fragments, and the assembly of these elements into a new harmonious and meaningful entity. To Schwitters, the MERZ collage is not the mere manipulation of forms; it is the continuous process of transformation, from their initial state, of various fragments found in his daily environment, including material doomed to destruction: debris, rubbish, scrap, trash, remnants, etc. This transformation consists of one fundamental theme: uniting two opposing forces of reality---art and non-art---into one world: the Merzgesamtweltbild. Art is singled out as the supreme value of human existence, which has the power of transforming waste matter into a work of art. What is seen, through the artist's eyes and soul, is a colour, a light, a shadow, a line, a form, a space, a depth...What occurs in the MERZ collage is the true metamorphosis of the visible, sensible ordinary world.

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Patrick Hosein, Michael Athans. / Caption title. "To appear in Proc. 1989 Symposium on C2 research, Washington, D.C. / Includes bibliographical references. / Research supported by the Joint Directors of Laboratories (JDL), Basic Research Group on C3 Systems, under contract with the Office of Naval Research. ONR/N00014-85-K-0782 ONR/N00014-84-K-0519

Samuil Iakovlevich Marshak (1887-1964), the virtual founder of children's drama in Soviet Russia, made wide and frequent use of folk elements in the seven plays that he wrote for children. The> two plays studied here, Koshkin dom (The Kitten's House) and Dvenadtsat' mesiatsev (The Twelve Months), are close to folktales in form as well as in the world view that they present. The Kitten's House, a verse play, is a dramatization of the typical animal tale of folk-literature. The Twelve Months, a play mainly in prose with some verse in it, is a mixture of animal lore, magic and fantasy, with a more involved plot. This study attempts to identify the folk elements in these plays and to show how the plays are linked with folk-literature in general and Russian folk-literature in particular. Furthermore, The Twelve Months is seen to be derived from a Czech folktale. An attempt is also made to show how Marshak uses folk elements to project certain social values. Seen against the background of his life, especially his sustained endeavour to improve children's education, Marshak"s plays can be readily understood to be deliberately designed instruments of social instruction. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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