The speaker of The Desert Survival Guide is seeking to reconcile his own disconnection, from the natural world, the cosmos, his family, and from his sense of his own humanity. The poems in The Desert Survival Guide are a healing ceremony, to come to a place of acceptance regarding the loss of my father. The semi-autobiographical speaker of these poems has lost the immediate physical presence of his father in his life but still retains a deep memory imprint of the father and an unresolved need to process the absence of the father. He is gradually establishing a new connection to the land on which his father lived out his life and was buried. Impressions of his father bloom out from the geologic features of the landscape, the natural flora and fauna, all a realm of immediate waking dream. The speaker is something of an Orphean Shaman; he wanders the landscape howling his pain and loss, his love, his passions, as Orpheus did his songs. He seeks to pierce through the veil of death in order to reconcile the loss of his loved ones; he seeks to go beyond the human created world into the mystic experience of the desert through the power of utterance and by honoring virile animal familiars. He journey’s to the beyond, for much the same purposes as the shaman, a purpose common to poets, mystics, and scientists, to see beyond immediate knowing. He follows the most primal of human directives, the need to understand and communicate the experiences of his life which have struck him with great intensity.

<p>Uppsatsens syfte har varit att lyfta fram skivomslaget genom designgrupperna Hipgnosis och StormStudios bildspråk i en populärkulturell analysmodell på tre nivåer. Ansatsen har varit att genom denna modell försöka skildra deras bildspråkliga påverkan via omslagets representation av artisterna och kommunikation med skivköparen. Skivomslaget som koncept inom skivindustrin nådde sin storhetstid under den postmodernistiska epoken från sent 1960-tal fram till 2000-talet. Uppsatsen syfte blev då även att utforska vad som utmärker designgruppernas bildspråk kopplat till postmodernismens tillstånd, konsthistorien och populärkulturella texter (bilder, litteratur, musik, tidningar, media, konst etc.).</p><p>Resultatet avslöjar att Hipgnosis och StormStudios skivomslag har starka kopplingar till konsthistoriens kändaste konstnärer under modernismens epoker från bl.a. surrealismen. Det framkommer också att deras arbete har samband med det rådande postmoderna tillståndet av intertextuella- och fragmentariska lån ur populärkulturella texter som producerats för en masskultur. Med detta blottas designgruppernas kreativa arbetssätt och bildspråk utmärkande av sin fantasieggande hybrid mellan konst- och filmvärlden samt fotografikonsten – vilket skapat dem ett eget varumärke som designers. Deras omslagsdesign har dessutom nått utanför musikindustrin som genre och arbetsfält genom andra konstnärliga fält. Man kan se på deras arbete som <em>kreativ konst</em> utan gränser.</p>

<p>This essay examines the love affair between the two main characters of Rut Hillarp’s novel Sindhia. It draws attention to the schism between the Surrealist version of love as an extatic-religious fusion of the sexes – that in a way marks the relationship – and the yet remarkable coolness between the two lovers.</p><p>With the theories of French psychoanalyst Jacques Lacan, I will show how the man and the woman project their unrealistic individual fantasies on each other, thus rendering impossible the Surrealist Meeting, with its road to an absolute reality. The Surrealist "l’amour fou", I will argue, is trapped in the ritualized "l’amor interruptus"; a lacanian term for a certain kind of love that wishes to conceal the fact that desire will never find its object. It does so by pretending that the object would be found if only love had been consummated (thus the reason love is never consummated, since, as Lacan puts it, the object, or the Thing, is never to be found).</p><p>I will, in brief, argue that the love affair depicted in the novel in different ways tries to deal with the “lack-of-being” that marks the subject according to Lacan; the absolute distance to the desirable Thing.</p>

This thesis is comprised of a collection of short stories, most of which are set in southern, urban milieus. The fictional characters contained within deal in their own unique ways with the crises they face. Most of these sources of conflict arise from domestic complications. Six of the eight stories are written in the first person; the collection is voice-driven and concerned with the idiosyncratic points of views of the focal characters, and in this way borrows from the tradition of Southern fiction, which is in many cases laced with dark humor.

The subject of this thesis is Leonora written by Elena Poniatowska. The aim of the study is to analyze the literary technique and strategy used in constructing this book which depicts the life of a famous painter, Leonora Carrington. The analysis concentrates on two aspects: the extent of its feminist character and whether it can be classified as a fictional biography or a biographic fiction. In order to arrive at a conclusion on these issues a brief summary of literary and feminist theory is presented as well as a short description of relevant aspects of the surrealist movement. According to the author Leonora does not pretend to be a biography but rather a tribute to a great woman and artist. This esay however sustains that the book is a feminist fictional biography. In fact it builds upon books written by Carrington herself with a highly autobiographical content as well as on biographical texts. Both the author and her protoganist are well-known for their feminist stand and the analysis shows how feminist theory or thinking is reflected both on behalf on the writer as well as in the construction of the hero and certain aspects of her life that build up this biographical fiction.

Uppsatsens syfte har varit att lyfta fram skivomslaget genom designgrupperna Hipgnosis och StormStudios bildspråk i en populärkulturell analysmodell på tre nivåer. Ansatsen har varit att genom denna modell försöka skildra deras bildspråkliga påverkan via omslagets representation av artisterna och kommunikation med skivköparen. Skivomslaget som koncept inom skivindustrin nådde sin storhetstid under den postmodernistiska epoken från sent 1960-tal fram till 2000-talet. Uppsatsen syfte blev då även att utforska vad som utmärker designgruppernas bildspråk kopplat till postmodernismens tillstånd, konsthistorien och populärkulturella texter (bilder, litteratur, musik, tidningar, media, konst etc.). Resultatet avslöjar att Hipgnosis och StormStudios skivomslag har starka kopplingar till konsthistoriens kändaste konstnärer under modernismens epoker från bl.a. surrealismen. Det framkommer också att deras arbete har samband med det rådande postmoderna tillståndet av intertextuella- och fragmentariska lån ur populärkulturella texter som producerats för en masskultur. Med detta blottas designgruppernas kreativa arbetssätt och bildspråk utmärkande av sin fantasieggande hybrid mellan konst- och filmvärlden samt fotografikonsten – vilket skapat dem ett eget varumärke som designers. Deras omslagsdesign har dessutom nått utanför musikindustrin som genre och arbetsfält genom andra konstnärliga fält. Man kan se på deras arbete som kreativ konst utan gränser.

Texte remanié de : Dissertation : Romanistik : philosophische Fakultät der Universität Bonn : 1984. / Bibliogr p. 241-271. Index.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

This essay examines the love affair between the two main characters of Rut Hillarp’s novel Sindhia. It draws attention to the schism between the Surrealist version of love as an extatic-religious fusion of the sexes – that in a way marks the relationship – and the yet remarkable coolness between the two lovers. With the theories of French psychoanalyst Jacques Lacan, I will show how the man and the woman project their unrealistic individual fantasies on each other, thus rendering impossible the Surrealist Meeting, with its road to an absolute reality. The Surrealist "l’amour fou", I will argue, is trapped in the ritualized "l’amor interruptus"; a lacanian term for a certain kind of love that wishes to conceal the fact that desire will never find its object. It does so by pretending that the object would be found if only love had been consummated (thus the reason love is never consummated, since, as Lacan puts it, the object, or the Thing, is never to be found). I will, in brief, argue that the love affair depicted in the novel in different ways tries to deal with the “lack-of-being” that marks the subject according to Lacan; the absolute distance to the desirable Thing.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.