Thesis (M.A.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Habilitationsschrift--Sprach- und Literaturwissenschaft--Mannheim--Universität, 1986.

Thesis (Ph. D.)--University of Chicago, 1933. / Photolithographed. "Private edition, distributed by the University of Chicago libraries." Bibliography: p. 87-90.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in French." Includes bibliographical references (p. 409-432).

Th. 3e cycle--Linguist.--Paris 5, 1985.

This thesis presents a study on the way of thinking and way of design of the Czech born architect Antonin Raymond (1888-1976). The data used for this study was a series of lectures and articles written by Raymond between 1935 and 1967 and original architectural drawings and photographs. These documents were all collected personally by the author at Raymond’s former studio in Karuizawa and Architectural Office in Tokyo. These documents provide a new source of information on Raymond’s residential work and have been compiled in an electronic database available with the thesis. The database includes architectural drawings, original and contemporary photographs, and general information on a majority of the residential works designed by Raymond between 1920 and 1938. The aim of this thesis is to answer the following question: what is the core quality or concept that identifies a work of architecture as Raymond’s? In order to answer this question, the thesis presents a study on the identity of Antonin Raymond as an architect, which the author has chosen to refer to as “Architectural Identity”. The essential quality of Raymond’s “Architectural Identity” is defined through the study of the architect’s way of thinking, way of design, and the relationship between the two. These three elements are considered by the author as the three components of “Architectural Identity”. For the study of Raymond’s way of design, the thesis focuses on one residential project, which is Raymond’s own summer house, built in Karuizawa in 1933. / Kyoto University (京都大学) / 0048 / 新制・課程博士 / 博士(工学) / 甲第13809号 / 工博第2913号 / 新制||工||1430(附属図書館) / 26025 / UT51-2008-C725 / 京都大学大学院工学研究科建築学専攻 / (主査)教授 髙松 伸, 教授 前田 忠直, 教授 門内 輝行 / 学位規則第4条第1項該当

Raymond Moore operated quite apart from the mainstream of the British photography scene, with its emphasis on socially engaged and documentary approaches. He created his compelling images from the most mundane subject matter, seeking out the 'uncommonness of the commonplace' as he himself put it. Moore is best known for his early work, taking its cue from Formalism as well as the nature mysticism of the British Neo Romantic movement. His mature work is minimalist, even selfeffacing, and pervaded by an understated sense of humour. It is the argument of this thesis that the general perception of Moore as one of the last great 'Modernist masters' has hindered the appreciation of a much more radical artist who only came to the fore from the mid-70s onwards. A methodological chapter addresses some of the challenges posed by an author- and work centred approach such as that adopted by the thesis. In the wake of persuasive 'postmodern' critiques of the status of critical agency and the representative function of language, how is it still possible to write about a photographer's work? What may the resulting text hope to achieve? A biographical chapter then examines Moore's life and art-historical context, based on original interviews with his contemporaries, as well as unpublished material such as letters and photographs. There follows an in-depth analysis of a number of images, mainly from the transitional period leading up to the late work. Moore's work distances us from anthropocentrism, without on the other hand surrendering to nihilism. Finally, an attempt is made to sketch out a philosophical framework from which to better appreciate the qualities found in Moore's late work. Moore's well-documented interest in Zen Buddhism provides a point or reference, as do the Hua Yen vision of radical interdependence, ideas connected to Systems Theory and Constructivism, the project of 'Deep Ecology', and Jullien's notion of 'Blandness'. The concluding chapter also examines the possible relevance to everyday life of the change in perspective implicitly suggested by Moore's work. The thesis also contains an illustrated catalogue raisonne of Moore's published work, and most of the work in public and private collections worldwide.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, 2007. / Submitted by Érika Rayanne Carvalho (carvalho.erika@ymail.com) on 2010-09-09T14:51:39Z No. of bitstreams: 1 2007_Ana Janaina Alves de Souza.pdf: 1617345 bytes, checksum: d55a9e63399c920e52c5cfa58b6898de (MD5) / Approved for entry into archive by Lucila Saraiva(lucilasaraiva1@gmail.com) on 2010-09-20T15:54:02Z (GMT) No. of bitstreams: 1 2007_Ana Janaina Alves de Souza.pdf: 1617345 bytes, checksum: d55a9e63399c920e52c5cfa58b6898de (MD5) / Made available in DSpace on 2010-09-20T15:54:02Z (GMT). No. of bitstreams: 1 2007_Ana Janaina Alves de Souza.pdf: 1617345 bytes, checksum: d55a9e63399c920e52c5cfa58b6898de (MD5) / Esta dissertação analisa a obra do escritor francês Raymond Roussel, tendo como ponto de partida a proposição de Michel Foucault de que a literatura seria um locus de transgressão, onde os limites da linguagem são postos em xeque. No livro póstumo Comment j'ai écrit certains de mes livres (1935), Raymond Roussel apresentou seu procedimento de escritura, que deu origem aos romances Impressions d'Afrique (1910) e Locus Solus (1914). O procedimento envolve o uso da sinonímia e da homofonia, a decomposição de termos e a suspensão do significado, tendo como resultado uma literatura que busca especificamente tornar as palavras "desenhos de rébus". O método de escrita de Roussel nos dá ensejo a pensar as relações traçadas pela psicanálise entre palavra e coisa, de um lado, e linguagem, inconsciente e memória, de outro. Sua frase, "em mim, a imaginação é tudo", se contrapõe à chamada "psicobiografia", possibilitando uma reflexão sobre o encontro entre arte e psicanálise. Ao final deste trabalho, percebe-se que a obra de Raymond Roussel permanece enigmática tal como o umbigo do sonho resiste à interpretação. Seu procedimento de criação insiste na quebra e destruição do sentido, na impossibilidade de ligação. Confrontada com o tal texto, a psicanálise não procura um sentido fixo, que desvende a obra, mas a produção de novas palavras que venham estranhar o texto - e a própria psicanálise. ______________________________________________________________________________________________________ ABSTRACT / This dissertation analyses the work of the French writer Raymond Roussel, starting from the proposal of Michel Foucault that literature is a locus of transgression, where the limits of language are questioned. In Comment j’ai écrit certains de mes livres (1935), published after his death, Raymond Roussel presented his writing method, which has originated his others books Impressions d’Afrique (1910) and Locus Solus (1914). This procedure involves the use of synonymy and homophony, the decomposition of terms and the suspension of meaning, creating a literature that seeks specifically to transform words in “pictures of rébus”. Roussel´s writing method invites us to think about the relations brought by psychoanalysis, first, between word and things, and second, between language, memory and the unconscious. His statement “in me imagination is all” opposes to the so called “psychobiography”, which enables a reflection about the encounter of art and psychoanalysis. At the end of this study, we realized that the work of Raymond Roussel remains as enigmatic as the navel of dream resists to interpretation. His creation procedure insists in the breaking and destruction of meaning, in the impossibility of connection. Faced with such text, psychoanalysis does not seek a single meaning, which unravels the whole work, but the production of new words that questions not only the text but the psychoanalysis itself.

Heft 9 der Zeitschrift Coils of the serpent.

No description available.