Thesis--New York University. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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

Diss. : Geschichtswrissenschaft : Bochum : 1985. - Bibliogr. p. 217-226. -

Texte remanié de: Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 1997 ?. Titre de soutenance : Progressive Universalpoesie : Max Ernst und die deutsche Romantik : Studien zur Methodik. / Notes bibliogr.

x, 144 p. :　ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences. / Committee in Charge: Dr. Sherwin Simmons, Chair; Dr. Joyce Cheng; Dr. Charles Lachman

The aim of this Master’s thesis is to analyse formal and thematic layers of the artistic films produced by the pharmaceutic company Sandoz and to put them in the relation to the specific history of the company. Sandoz laboratories produced mainly in the 60’s and 70’s several artistic films (e.g. La Femme 100 Têtes which was the adaptation of Max Ernst’s collages or Images du monde visionnaire with the presence of artist Henri Michaux). The thesis explores some of the films and, at the same time, describes the production background and cinematographic context in the relation to the history of Sandoz laboratories.