Thesis (doctoral)--Université Michel de Montaigne-Bordeaux III, 1997. / Includes bibliographical references (p. [347]-360) and indexes.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

No description available.

This thesis explores colour as a philosophical means of transit between literature and the visual arts. I explore a new way of thinking about the self and about thought, developmg the significance of colour alongside, and internal to, modes of representation in the modernist movement. The interaction of art and literature is crucial to much debate on modernist aesthetics. DevelopIng the debate into the history of colour phenomena, I argue that colour aHows a philosophical inflection to certain clich6s (such as stream-of-consciousness) that are attached to modernist writing. In the work of Virginia Woolf, Samuel Beckett, Dorothy Richardson and TS Eliot, I argue that the modernist preoccupation with the seeming unpasse between thought and representation can be seen to be 'made visible' through the theme of colour. Colour is a vehicle through which to explore the relation between thought and perception, subject and object, and offers a new way of engagement with recent research into theoretical comparisons between thinking, writing and visual arts.

Diss.--Munich, 1966. / Bibliography: p. 155-159.

Inaug.-diss.--Uppsala. / Extra t.p., with thesis statement, inserted. Bibliography: p. [297]-322.

Thesis (M.A.)--Lehigh University, 2009. / Adviser: Scott P. Gordon.

No description available.

In Proustian aesthetics, the act of reading constitutes a fundamental activity in the elaboration of Remembrance of Things Past. The representation of each art form which the novel proposes to synthesize (architecture, painting, and literature) is based on intertextual relationships that unite texts from non literary (Ruskin, Male), literary (Sand, Sevigne, Racine) and philosophical (Schopenhauer) sources, that contribute to a general conception of art that reintegrates the problem of the reception of art works in the context of an essentially literary experience. In accordance with Hans-Robert Jauss' theory, the presence of such texts enables the reconstitution of the reader's expectations, and provides the context for the multiple representations of the work of art. Consequently, the implicit and explicit interrelations between the Proustian text and its intertext, perceived as an indication of the readers liberty, introduce different strategies of reading into the novel. Not only does the narrative, through its characters, offers a series of examples that are didactic in nature, but the use of quotations creates dynamics that underscores the specificity of the Proustian act of reading and its interdependence on the act of writing. The reception of the text implied by the Proustian reading of the work of art therefore contributes in making Remembrance of Things Past, not a dogmatic exposition of a theory, but rather a long quest through literary creation for knowledge that transcends Plato's idea of the transmission of meaning through art and of communication through the act of reading.