Thesis (M.D.)--University of Wisconsin, 1954. / Typewritten. Title from title screen (viewed Apr. 30, 2009). Includes bibliographical references. Online version of print original.

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

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[EN] Abstract Alejandro de la Sota suffers a major transformation in his career in 1955. With the feeling of a deep personal crisis to the architectural situation in which he operates, the appearance of a book titled "Marcel Breuer: Sun and Shadow. The Philosophy of an Architect ", acts as a trigger for a period in which he'll develope some of his most important works. This thesis studies on the one hand, the reasons and contents of this publication and the influences that could have on Alejandro de la Sota. In addition, two unique projects of each architects are analyzed and neighborhoods that exist between them are exposed. Their relations in the field of architecture, based on a constructive sense, the value of prefabrication, the sense of utility, as well as the work done in the field of teaching or furniture design are presented in this document. It has assembled a full bibliography consists of drawings, documents and photographs, supplemented by a graphic reconstructions of the projects analyzed, using the drawing as a tool of analysis. / [ES] Resumen Alejandro de la Sota sufre una importante transformación en su carrera profesional en el año 1955. Con el sentimiento de una profunda crisis personal ante la situación arquitectónica en la que se desenvuelve, la aparición de un libro titulado "Marcel Breuer: Sun and Shadow. The Philosophy of an Architect", actúa como detonante de un período en el que desarrollará alguna de sus obras más importantes. Esta tesis estudia, por un lado, las razones y contenidos de esta publicación y las influencias que pudo tener sobre el Alejandro de la Sota. Además, se analizan dos obras singulares de cada arquitecto y se exponen las vecindades que entre ambos existen. Sus relaciones en el campo de la arquitectura, atendiendo a su sentido constructivo, el valor de la prefabricación, el sentido de utilidad, así como la labor desempeñada en el campo de la docencia o el diseño del mobiliario son presentados en este trabajo. Se ha reunido un material bibliográfico completo formado por planos, documentos y fotografías, completado por unas reconstrucciones gráficas de los proyectos analizados, empleando el dibujo como una herramienta de análisis. / [CA] Resum Alejandro de la Sota patix una important transformació en la seua carrera professional l'any 1955. Amb el sentiment d'una profunda crisi personal davant de la situació arquitectònica en què es desembolica, l'aparició d'un llibre titulat "Marcel Breuer: Sun and Shadow. The Philosophy of an Architect", actua com a detonant d'un període en què desenrotllarà algunes de les seues obres més importants. Esta tesi estudia, d'una banda, les raons i continguts d'esta publicació i les influències que va poder tindre sobre l'Alejandro de la Sota. A més, s'analitzen dos obres singulars de cada arquitecte i s'exposen els veïnats que entre ambdós existixen. Les seues relacions en el camp de l'arquitectura, atenent al seu sentit constructiu, el valor de la prefabricació, el sentit d'utilitat, així com la labor exercida en el camp de la docència o el disseny del mobiliari són presentats en este treball. S'ha reunit un material bibliogràfic complet format per plans, documents i fotografies, completat per unes reconstruccions gràfiques dels projectes analitzats, emprant el dibuix com una ferramenta d'anàlisi. / Sanchis Gisbert, SJ. (2015). Alejandro de la Sota: Sun and shadow the philosophy of an architect [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59439

This thesis focuses on the triadic relationships in works by Henry James and Vladimir Nabokov. I have used two psychoanalytic case studies, Bertha Pappenheim and Elma Pálos, to reflect how James and Nabokov use the analytic method for revealing stifled and fragmented voices in their daughter characters. I theorise that while Henry James prefigured the analytical doctor/patient dynamic in the father/daughter relationships in his novels, he also adds the mother figure, turning this into a triad. The controlling mother fragments the daughter’s speech and the situation of the triadic relationship damages the daughter’s ability to articulate her narrative. The novels, Watch and Ward (1871), Washington Square (1880), and The Awkward Age (1899) show James’s developing recognition of the role the mother plays in the triad, as well as his own role as author and narrator of the daughter’s story. The case studies also contain damaging triadic relationships. There has been limited interest in the triads and this, so far, has not been commented upon as a reason for the daughter’s mental disturbance. I use unpublished letters to try to uncover the ‘real’ voice of Elma. I see that literary and psychological criticism has been guilty of mistakes in research and misrepresentation. This has further fragmented the story of these women. I hope to show that both Henry James and Sigmund Freud inspired Vladimir Nabokov, despite his vehement opinions against them. He presents the same scenario of the triadic relationship, in a fictional but analytical setting, to express his own anxiety about ‘losing’ his native language. His feminised struggle is apparent in Lolita (1955), and even more so in the character of Lucette, in Ada (1969). Nabokov sees that, in analysis, the mother is a 3 threat to the daughter’s self-expression. He develops the mother character in his fiction to represent this discovery.

This essay provides an analysis of the novel When Nietzsche Wept written by Irvin D. Yalom. The novel takes place during the late eighteen hundred century in Vienna and throughout this essay I explore how Yalom has created a setting, where he has placed some of most prominent philosophers of this time in his fictional world in order to educate the reader about the birth of psychoanalysis and give an alternative version to how it emerged. I argue that Yalom manages to implement different original theories in connection to psychoanalysis to show how the ideas circulating at that point in history contributed to the development of psychoanalysis. The essay compares the original theories of Freud, Breuer and Nietzsche to those brought forward by the characters and illustrates the similarities in order to support Yalom´s alternative version. In conclusion, this essay demonstrates how Yalom has created an alternative version of the development of psychoanalysis by blending original theories with fictive events in order to show how psychoanalysis was a zeitgeist of its time and had more than one founding father.

This thesis is an overview of the processes and procedures used in the production of my artistic practice. In my work, I explore notions such as the ambiguity of the photographic image, what constitutes an image or object as photographic, and the unexplored possibilities of the medium through surface and mark making. In addition, I draw inspiration from artists Wolfgang Tillmans, William Henry Fox Talbot, and Marco Breuer as entrance points to my conceptual interests. For viewers, my work generates an internal dialogue about the limits of the photographic medium.

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text

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