Thesis (Ph. D.)--Columbia University, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 1554-1606).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed February 25, 2010). PDF text: 1 v. UMI publication number: AAT 3386595. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Art History, 2006. / Includes bibliographical references.

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Orientador: Andressa Cristina de Oliveira / Banca: Adalberto Luís Vicente / Banca: Norma Wimmer / Resumo: Esta dissertação tem como objetivo o estudo da obra de Boris Vian, intitulada L'Écume des jours (1947), por meio da análise de seu caráter poético e do trabalho com a linguagem realizado pelo autor. Busca também demonstrar a herança surrealista presente na narrativa e visa apontar como esta ainda se filia ao surrealismo, mesmo tendo sido produzida anos após o auge do movimento. O embasamento teórico da pesquisa abrange uma contextualização teórica e histórica do período - pós-guerra, 1945 - no qual a obra foi escrita. Na sequência, são apresentados os principais elementos, características e ideais do movimento surrealista, segundo as obras, sobretudo, de Lima (1995) e Chénieux-Gendron (1992). Estes aspectos são apontados e analisados de acordo com trechos da obra, buscando verificar como esta se filia ao surrealismo. Por fim, são apresentados os conceitos que elucidam o gênero híbrido da narrativa poética, consoante às ideias de Tadié (1994), e outros textos referentes à poesia, os quais permitem o reconhecimento dos recursos poéticos empregados ao longo da narrativa. Estes apontamentos são demonstrados posteriormente na obra em questão, uma vez que o uso de figuras de linguagem, ritmo e musicalidade ao longo da narrativa é essencial para Vian. / Abstract: This dissertation aims the study of the Boris Vian work entitled L'Écume des jours (1947) through the analysis of its poetic character and of the work with the language done by the author. It also seeks to demonstrate the surrealistic heritage present in the narrative and aims to point out how this one is still affiliated with surrealism, despite having been produced after the boom of the movement. The theoretical basis of the research spans a historical and theoretical contextualization of the period - post-war, 1945 - when the work was written. The main elements, characteristics and ideals of the surrealist movement, mainly according to the works of Lima (1995) and Chénieux-Gendron (1992) are presented in the sequence. These aspects are pointed out and analized accordingly with extracts of the work seeking to verify how this one affiliates itself with surrealism. Finally, the concepts which elucidate the hybrid genre of the poetic narrative, consonant with Tadié (1994) ideas, and other texts regarding poetry, which permit the recognition of the poetic resources employed along the narrative. These notes are demonstrated later in the work in question, once the use of figures of speech, rhythm and musicality throughout the narrative is essential for Vian. / Mestre

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988. / Includes bibliographical references (leaves 66-73). / In 1935, Andre Breton published his speech Qu'est-ce que le Surrealisme? with Rene Magritte's drawing, "Le Viol" (The Rape) on its cover. The image, a view of a woman's head in which her facial features have been replaced by her torso, was meant to shock the viewer out of complacent acceptance of present reality into "surreality," that liberated state of being which would foster revolutionary social change. Because "Le Viol" is such a violently charged image and because of the claims made for it by Magritte for its revolutionary potential, the drawing has been the subject of many arguments, both for and against its effectiveness. The feminist community has had a particular interest in this image (and in Magritte's work as a whole) not only because of the controversial treatment of the female subject in "Le Viol," but also because of the ways in which our culture has been so easily able to strip surrealist images of their political content and subsume them back into mainstream culture for use in those very categories of social practice which Surrealism wanted to eradicate. The reincorporation of surrealist works has been especially noticeable and damaging in the case of images of women, as feminists like Susan Gubar and Mary Ann Caws have pointed out Against those claims made against "Le Viol" as an image which affirms phallocentric language and discourse rather than disrupting them, I argue in this paper that the drawing in fact exposes the mechanisms by which female sexuality is formed and controlled within phallocentric language. In exposing these constructions, "Le Viol" forces the viewer to realize them as ideological positions which maintain women as Other, as unable to gain access to coherent meaning within that language. In performing this function, Magritte's picture undermines that process through which women are deprived of a coherent self-image and of the material power which comes with that image in the social realm. To substantiate my arguments, I trace the relationship between several of Magritte's images and the surrealist texts in which they were published, in order to provide a complex understanding of the interrelationships between word and image to which the artist directed much of his work. My use of the theoretical positions of deconstruction, feminism and psychoanalysis allows me to take the observations made onto the terrain of sexuality. These positions provide an understanding of how language and representation operate with respect to each other, and how the human subject (particularly the female) is formed through language. / by Robin Adèle Greeley. / M.S.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 469-482). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

This report analyzes André Breton’s particular brand of travel-writing that emerges from his four-month-long trip to Mexico in 1938 (“Memory of Mexico” from the Minotaure journal, a “Portrait of Frida Kahlo,” and the speech “Visit with Leon Trotsky”). I show how these writings, to a great extent, poeticize the Mexican landscape, rendering it as a “primitive,” innate expression of the surrealist spirit. I also question how surrealist ethnographic practices, as defined in James Clifford’s The Predicament of Culture, might feed into Breton’s poetic elaboration of his travels. In the last section, I examine Breton’s collaboration with Leon Trotsky, “Manifesto for an Independent Revolutionary Art.” Breton and Trotsky declare art to be entirely free from all social constraints imposed from above—it is an aggressive anti-Stalinist document. I discuss how Breton’s more poetic writings of the period—these travelogues I have mentioned—also constitute an attempt to put into practice this manifesto’s creed. As depicted in Breton’s writings, the Mexican landscape itself realizes a type of alternative Marxism—one not beholden to strict historical-materialist doctrine. / text

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