Final Project (M.A.)--John F. Kennedy University, 2007. / "June 15, 2007"--T.p. Includes bibliographical references (p. 73-78).

Thesis (Ph. D.)--Lehigh University, 1998. / Includes vita. Bibliography: leaves 93-105.

Thesis (M.A.)--Wisconsin. / Bibliography; leaf [51].

"Quadro cronologico degli artisti ferraresi non rammentati dal Baruffaldi, e poco cogniti per opere": v. 2, p. 584-596. / At end of v. 2: Pubblicato nel settembre 1848.

謝炎安. / "2001年6月" / 論文 (藝術碩士)--香港中文大學, 2001. / 參考文獻 (leaves 19-21) / 附中英文摘要. / "2001 nian 6 yue" / Xie Yan'an. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 19-21) / Fu Zhong Ying wen zhai yao. / Chapter ´ؤ) --- 前言 --- p.6 / Chapter 二) --- 過往對藝術家書本的定義 --- p.6 / Chapter 三) --- 論述主導下產生的問題 --- p.10 / Chapter 四) --- 藝術家書本論述的解咒 --- p.13 / Chapter 五) --- 後語 --- p.17 / 參考書目 --- p.19

My creative thesis project will be a loosely composed story consisting of fragments of prose, poetry, and possibly random notes and/or letters. In length, my project will be somewhere between fifty and a hundred pages.The premise of my story will be this: Henry Egan is a painter. One day, Henry Egan paints a line that he believes is the first line of his masterpiece. (Henry Egan longs for the immortality afforded to the creators of masterpieces. He has waited, and nearly given up, on the divine luck required to be immortal.) Now, Henry Egan believes he has begun his masterpiece. He believes he is painting with genius and that his genius will be remembered. He is so sure (or, possibly, unsure) that this painting will ensure his immortality that he is documenting its completion.This is my creative project: The journal/study-guide that Henry Egan writes while painting his masterpiece. There is, of course, a problem. Henry Egan's masterpiece is of a woman he is in love with, Kate. She is both the inspiration and subject of his masterpiece. He associates his masterpiece and Kate so strongly that difficulties with Kate create difficulties in painting, and visa-versa. This problem manifests itself in a variety. At any rate, Henry Egan's inability to clearly distinguish artistic creation from reality is an issue, and the major part of the plot and theme revolve around this difficulty.The significance of this problem I do not feel I can accurately-judge, given that my feelings about this problem are of little significance compared to the feelings of the reader. I do not see how a writer can accurately judge (or impose upon) the significance of a problem he or she has invented.For lack of a better phrase, I will say that my project could be categorized as `stream of conscious' writing. / Department of English

Autobiographical narration is a form of expression that is thematically orientated towards the self and self-disclosure and can be viewed as a technique not only of self portrayal but also self-assurance. Autobiography was once seen to be the discipline of renowned men who recounted the achievements and course of their lives; however recent discourse and treatment of the genre has centred on the potential for a fluid relationship between fact and fiction, concepts of multiple selves, and enquiry into the broad social importance and potential of the genre itself. Feminist counter theories and the differing approaches and perspectives of contemporary artists are considered within the context of an expanded interpretation of autobiography. / Autobiography in art reveals a number of features in common with literary autobiography and this study moves freely between both literary genre theory and contemporary visual art theory. These theories include consideration of aspects of narcissism, gender, nostalgia, confession, truth, metaphor, imagination, memory, fiction, therapy, and critical distance, and historical perspectives and philosophical questions concerned with the self and subjectivity. / In the visual arts autobiography is also considered through 'expression theory', which focuses on the expression of emotion in art. This section acknowledges the use of emotion within my own work and also draws upon (without specific reference to), the current prevalence of emotive expression in the contemporary music scene, a trend expressed as 'emo'. In this essay emotion is discussed both within and outside a visual art context (including a brief historical perspective informed by the philosophy of R.G.Collingwood). / A specific focus on metaphor and critical distance through contemporary feminist perspectives and opposing long-established concepts of metaphor are discussed with reference to specific artists and cultural theorists. / This research concludes with a specific focus both on my own work and the art works of other artists who, with various and divergent approaches, use emotive and autobiographical methodology within their work / Thesis (MVisualArts)--University of South Australia, 2005.

Thesis--University of Toronto, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2527. Includes bibliographical references (leaves 286-298).

Thesis (M.A.)--University of Wyoming, 2007. / Title from PDF title page (viewed on June 17, 2008). Includes bibliographical references (p. 72-78).

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