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Thesis (M.F.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains v, 24 p. : col. ill. Includes abstract. Includes bibliographical references (p. 19).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaf 23).

Thesis--Tübingen. / Vita. Bibliographical references includes in "Anmerkungen": p. 176-208.

Thesis (Ed.D.)--University of Tulsa, 1974. / Bibliography: leaves 730-745.

Thesis (Ph. D.)--University of California, Santa Cruz, 1983. / Typescript. Includes bibliographical references (leaves [316]-327).

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisors: David S. Stuart and Julia Guernsey. Vita. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1969. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

From Introduction: The making of images has been a human activity since Prehistory, undergoing many and drastic changes over the centuries, but the symbols integral to images have proved enduring and recurrent. This is because the artist draws on that stratum of the psyche which C.G. Jung calls the collective unconscious: a universal archaic memory within the human mind, containing the archetypes of all human experience.In this essay I have dealt with aspects of two of these archetypes; the anima and, to a lesser extent, the mother. I have limited my study to the work of male artists. Long sanctioned by tradition, images of women as seen by men, have provided an acceptable vehicle for men to express their own female principle. As long as a man operates in the world with total apparant masculinity, the anima or female principle is repressed and denied at a conscious level.