Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--City University of New York, 1988. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1988. / Includes bibliographical references (leaves [248]-269).

In this essay eroticism will be examined as it appears in some twentieth century representational styles. The decision to concentrate on the representational styles is based on the fact that eroticism is by nature incompatible with the non-representational or non-objective movements in art. This incompatibility is rooted in the knowledge that eroticism is intrinsically and fundamentally a human experience and could therefore find expression only in an art which is concerned with human experience, i.e. experiences which refer to man, his nature and his relation to Nature. It would be oversimplified and grossly inaccurate to equate the nonrepresentational with the abstract, abstraction being an element present in all art to a greater or lesser degree. However, when abstraction has reached the stage where it can define its aims, as, in the words of Kandinsky, "widening the separation between the domain of art and the domain of Nature", (Lake & Maillard: A Dictionary of Modern Painting, p. 1) then it may also approach the realm of the non-representational. When Michel Seupher states, "I call abstract art all art that does not recall or evoke reality", (Lake & Maillard: A Dictionary of Modern Painting, p. 136) abstract and nonrepresentational art becomes fused into an inseparable unity. Erotic expression will then be incompatible with this degree of abstraction. Intro., p. 1.

[From Introduction]. Prior to 1800 advances made in painting could often be accredited to the advances made in paint technology. Since the beginning of the last century however, paint technology has stabilised, moved into the background and allowed the artist to create with the medium rather than be dictated to by it. This stabilising of art technology has also generated a lack of interest in technique, leading in turn to a number of painting techniques being lost. In some ways we know less today of the oil medium and its correct use than was known to Jan and Hubert Van Eyck and their followers. However, if this lack of concern with technique has produced a large number of valid artistic statements which are unlikely to survive physically, it also means that the hoardes of painters who painted technically perfect paintings with no valid art statement have dwindled as well.

霍秀霞. / "2010年9月". / "2010 nian 9 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 36-37). / Abstracts in Chinese and English. / Huo Xiuxia. / Chapter 1. --- 引言----一場革命 --- p.7 / Chapter 2. --- 呈現物本身----潛意識 --- p.8 / Chapter 2.1 --- 潛意識的定義 --- p.8 / Chapter 2.2 --- 佛洛伊德潛意識學說在超現實主義上的現實思考 --- p.10 / Chapter 3. --- “潛意識的解放´ح在當代呈現的模式 --- p.14 / Chapter 3.1 --- 拉康與克莉斯托娃 --- p.14 / Chapter 3.2 --- 如何衍生成爲當代模式 --- p.18 / Chapter 3.3 --- "我的創作""Automatic drawing´ح與泥塑空殼" --- p.24 / Chapter 4. --- 結論 / Chapter 5.1 --- 潛意識的工作 --- p.29 / Chapter 5.2 --- 我的理想國 --- p.32 / 圖片來源 --- p.35 / 參考書目 --- p.36

Thesis (MA (Hons.)) -- University of Western Sydney, Nepean, 1998. / "A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts" Bibliography : leaves 39-41.

Thesis (Ph. D.)--University of Hong Kong, 2006. / Also available online.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Includes bibliographical references (leaves 414-440). Available also in a digital version from Dissertation Abstracts.

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