Therapeutic outcomes are explored in a series of case studies where art therapy and storytelling interventions are used with clients. Stories utilized in the study include picture book stories, fairytales, and self-generated narratives. Additionally, the study’s participants created art responses that took such forms as illustrations and altered books. Research questions that were investigated were: When children receiving art therapy engage with stories created by others or the author, how do they respond?; When children receiving art therapy create their own stories, how do they respond?; and Is there archetypal or other psychologically meaningful content in the author’s picture book? Main subjects of the study were clients ages 9 to 12 receiving individual and group therapy services from the author at The Whole Child in Whittier, California. The author was also a subject in the study. She studied her picture book for significant content. A case study approach was used to highlight themes of psychological or therapeutic relevance for all participants. Biographical data as well as responses to interventions were recorded in assessment and progress notes. Additionally, the therapist shared a piece of her own creative writing for each case study in order to understand clients through the storytelling process. Then the biographical data, story, art responses, and creative writing pieces were studied to look for any connections and to draw conclusions. Based on these results, it appears that sharing pre-existing stories with clients or asking clients to create their own stories has therapeutic value. Not only did these interventions appear to aid clients’ expressions, but they also helped the therapist gain important understandings about clients. Similar analysis of the author’s picture book brought to light themes of psychological importance that increased her self-understanding.

The master’s thesis «“Poem Without a Hero” by Anna Akhmatova: Poetics of Inkompleteness» makes an attempt to investigate one of the main works of A. Akhmatova’s late period from the perspective of the phenomenon of incompleteness. The logic of studying is determined by two important aspects of the phenomenon – aesthetic and ontological. The first chapter is devoted to the theoretical grounds for the incompleteness. Some peculiarities of the verse ordonnance are considered in the second chapter. The specificity of the creative mind expressed in the fundamental text categories such as subjectival and spatiotemporal ordonnances is considered in the third chapter. Generally the master’s thesis is the basis for distinguishing some general principles of inkompleteness. These principles seem to be concerned with the «Poem Without a Hero» creative history. / В магистерской диссертации «“Поэма без героя” Анны Ахматовой: поэтика незавершенного» предпринимается попытка исследовать одно из главных произведений позднего творчества А. Ахматовой с позиции феномена незавершенного, выделение двух важнейших аспектов которого – эстетического и онтологического – обусловливает и логику работы. Первая глава посвящена обоснованию явления незавершенности, в том числе, разграничению понятий завершенное/незавершенное и законченное/незаконченное произведение; во второй главе рассмотрены некоторые особенности стиховой организации «Поэмы», в том числе специфика варьирования строфы; в третьей главе рассматривается специфика художественного сознания, явленная в таких текстообразующих категориях, как субъектная и пространственно-временная организации. В целом диссертация служит основанием для выделения нескольких принципов незавершенности, с которыми, как представляется, связана творческая история «Поэмы без героя».

The paper presents an original literary concept that describes both the philosophical system of L. Gubanov and the originality of his poetry. The logic of the master's thesis is subject to the presentation of this concept. The work outlines the originality of lyrical poetry by L. Gubanov; investigates the images of Chaos and Cosmos, as well as the main myths that define the uniqueness of artistic and philosophical system of the poet. The work analyses some of the author's poetic techniques, presents observations on the ways of organization of the poetic expression. / В работе представлена оригинальная литературоведческая концепция, описывающая как философскую систему Л. Губанова, так и своеобразие его поэтики. Изложению этой концепции и подчинена логика магистерской диссертации. В ней очерчено своеобразие лирического героя поэзии Л. Губанова; исследованы макрообразы Хаоса и Космоса, основные мифологемы, определяющие своеобразие художественно-философской системы поэта; осуществлен анализ некоторых приемов авторской поэтики, представлены наблюдения над способами организации поэтического высказывания.

В диссертации рассмотрена динамика образа героя и времени в русских исторических романах XIX века. На изображение героя и времени влияет историческая концепция автора. Историческое повествование включается в контекст вечных тем и проблем. Это сближает исторический роман с философским. Такая тенденция нашла воплощение в историко-философской дилогии Вс. С. Соловьева «Волхвы» и «Великий Розенкрейцер». / The dissertation examines the dynamics of the image of the hero and time in Russian historical novels of the 19th century. The historical concept of the author influences the image of the hero and time. Historical narrative is included in the context of eternal themes and problems. This brings the historical novel closer to the philosophical one. This trend was embodied in the historical and philosophical dilogy of Vs. S. Solovyov «Sorcerers» and «The Great Rosicrucian».

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Unmasking the heroes: sources of power in Afrikaner mythologising is a personal, visual and theoretical exploration of the underlying sources of power which governed the development of Afrikaner nationalism, particularly the years spanning the late 1980s and the early 1990s. The practical work, a series of drawings and relief cut-outs, sets out to unmask the beliefs, customs, traditions and attitudes particular to Afrikaner culture. It does so through the processes of deconstruction and reconstruction of selected mass mediated images whereby different symbolic paradigms are juxtaposed through the devices of collage and allegory to uncover layers of meaning. This art-making approach was informed by theoretical and visual research into the tradition of Western mythology, including related topics such as linguistics, psychology and sociology, Afrikaner history and historiography, and the mechanisms of contemporary cultural reproduction, particularly the South African mass media and fine arts. / History of Art and Fine Arts / M.A. (History of Art and Fine Arts)

Les polémiques ont joué un rôle important dans la réception des romans de Mordecai Richler au Québec francophone. Contrairement à l’idée reçue voulant que cet antagonisme ait empêché la lecture de l’oeuvre richlérienne, c’est plutôt à partir de la publication des essais sur le nationalisme québécois que la critique commencera à s’intéresser à l’écrivain. En effet, que ce soit avant ou après les polémiques, c’est au nom d’un rapport de correspondance au collectif que sera jugée l’oeuvre de Richler. L’abandon d’une conception restreinte de l’identité québécoise ouvre la porte à la relecture contemporaine des romans de Richler, même si cette relecture ne fait pas pour autant l’économie d’un rapport au collectif et cherche plutôt à opposer une identité québécoise exclusivement francophone à une identité prête à inclure un auteur longtemps identifié comme un ennemi public. Les mécanismes de ce rapatriement peuvent être mis en parallèle avec les conflits identitaires qui marquent le personnage richlérien. Dans Son Of A Smaller Hero (1955), Noah Adler tente de se définir en tant qu’être humain et de trouver une morale qui lui est propre en fuyant ses origines. Toutefois, cette fuite ne peut se solder que par un échec et le héros apprend que son idéal d’émancipation passe par une réinterprétation de son héritage plutôt que par l’abandon de celui-ci. Barney’s Version (1997) est en partie le récit de formation d’un écrivain tardif. Si Barney Panofsky s’en prend aux impostures collectives dans le roman, son incapacité à être totalement honnête par rapport à lui-même et à plonger dans une création et une défense sincères de ce en quoi il croit le poussera à s’aliéner ceux à qui il tient véritablement. Cette situation laisse le narrateur avec une oeuvre inachevée qui ne pourra s’accomplir que par l’intervention de ses héritiers. Dans les deux romans, la définition du personnage passe par une réappropriation herméneutique de son héritage qui rappelle, dans son rapport à la trace, au collectif et à l’illégitimité, les relectures francophones de l’oeuvre richlérienne. / Polemics have played an important role in the reception of Mordecai Richler’s novels in French Quebec. Contrary to the common idea that this opposition has prevented Quebec’s critics from reading the novelist’s work, Richler’s articles and essays on nationalism are the starting point of its reception. Whether it has been published before or just after the polemics, Richler’s writing is evaluated for the accuracy of his depiction of communities. The progressive rejection of a strictly French conception of Quebec’s identity opens the way to contemporary readings of the writer’s production. Still, these new readings are mostly attached to a conception of the collective, opposing an inclusive portrayal of Quebec’s identity, ready to let in the old enemy, to a uniquely French perspective on the imaginary. The mechanisms of this repatriation can be read in parallel with conflicting identities in Richler’s novels. In Son Of A Smaller Hero (1955), Noah Adler tries to define himself as a human being and to find his own moral standards by rejecting his origins. However, this escape path can only lead to failure and the main character learns that his ideal of freedom can only happen by a reinterpretation of his heritage rather than by its denial. Barney’s Version (1997) is, in part, the story of the education of a late writer. If Barney Panofsky attacks every collective imposture in the novel, his incapacity to be completely honest with himself and to accept a sincere creative activity and defence of his beliefs leads him to be alienated from those he truly loves. This situation leaves the narrator with an unfinished story, which can only be told by his successors. In both novels, the self definition of the character’s identity can only happen by a hermeneutical re-appropriation of his heritage that is similar to francophone readings of Richler’s work by its relation to the trace, the collective and illegitimacy.

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Unmasking the heroes: sources of power in Afrikaner mythologising is a personal, visual and theoretical exploration of the underlying sources of power which governed the development of Afrikaner nationalism, particularly the years spanning the late 1980s and the early 1990s. The practical work, a series of drawings and relief cut-outs, sets out to unmask the beliefs, customs, traditions and attitudes particular to Afrikaner culture. It does so through the processes of deconstruction and reconstruction of selected mass mediated images whereby different symbolic paradigms are juxtaposed through the devices of collage and allegory to uncover layers of meaning. This art-making approach was informed by theoretical and visual research into the tradition of Western mythology, including related topics such as linguistics, psychology and sociology, Afrikaner history and historiography, and the mechanisms of contemporary cultural reproduction, particularly the South African mass media and fine arts. / History of Art and Fine Arts / M.A. (History of Art and Fine Arts)