This dissertation aims to establish a technical discourse around Édouard Manet’s early watercolors and to clarify their intermediary function between his painting and printmaking in the 1860s. My project breaks from historically medium-specific divisions within museum collections and catalogue raisonnés to consider a series of case studies that attest to Manet’s working methods across media. Guided by collaborative efforts in conversation with curators and conservators, my close physical examination and analysis of the paintings, drawings, and prints that constitute each chapter resulted in new technical imaging that contributes unprecedented visual evidence to the study of Manet’s crucially influential career.

Creative writing is now generally recognized as playing an important part in a child's development. Some educators contend it is a "must" in today's world in encouraging effective social adjustment, and good mental health in children and youth. Because creative writing grows out of the writer's own thought or feeling, it is a part of the writer himself. No matter how crude the writing may be, the writer has grown in ideas because of the experience of recording a wish, a mood, a feeling, an observation. No adult or peer group can judge the inner worth of personal satisfaction. / Typescript. / "May 1958." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Sarah Lou Hammond, Professor Directing Paper. / Includes bibliographical references (leaves 26-27).

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This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.

The energy dynamics of creativity are the metaphysical foundations upon which the theory of holistic aesthetics was built. Traditional inquiry into creativity has been concerned with the isolated issues of either the process, technique, product, creator, or environment in which creation occurs. The aesthetics presented herein provide the art educator with an alternate approach and attitude. The absolute presupposition from which the theory develops states that "there is naught but energy, for God is life." The resulting model which incorporates the rationale of the physics of light is designed to illustrate relationships between the creator and the energies of creativity. Educational applications and significance of the model are described in terms of light and color; these practical implications lend themselves to empirical testing.

The writing of this thesis has been stimulated by the clear understanding of the poet’s resources are vitally important for those who intend to train others in Poetry Creative Writing. We suppose we think euphemistically that all creative writers write because they have something to say that is truthful and honest and pointed and important. This thesis is informed by creative voices of L.S. Booysen; C.L.J. Mophethe; N.S. Litabe and P.T.P.K. Maboea. During the interview each one of them was asked questions based on creativity and art as well as questions based on their poetry. Chapter one introduces the study and looks at the key concepts. Chapter two is the literary framework and focuses on the deconstructional approach and multiplicity of meaning in poetry. Chapter three looks at the creativity and art in the poetry of L.S. Booysen; C.L.J. Mophethe; N.S. Litabe and P.T.P.K. Maboea. In chapter four we discuss style in relation to Litabe. Chapter five looks at theme in Maboea’s poetry. In chapter six we focus on intertextuality in relation to Booysen and influence in relation to Mophethe. Chapter seven is a concluding statement that looks back into the first six chapters and also gives suggestions for future research. Our review of this thesis on creative writing has identified a number of factors that seem to foster people to write. But no one can influence people to become creative writers or poets or make them write well. The best one can do is to suggest to them some guidelines for creative writing. (vii) Many people wish to be proficient in poetry creative writing but to achieve this, one should be able to breathe into his work the true poetic spirit that pulses in the composition. This life cannot be created to order because it flows from the mind and soul of the poet and always without his being aware of what is happening, inspires and directs his art. Poetry is also a language that has been condensed, compacted, and trimmed to spark the lightning flash of insight. Poets are more attuned to the connection between language and things, existence and experience. Words have the capacity for poets to change reality, to deepen it, to make it more meaningful. For poets composition is a form of ritual magic. / Prof. R.S. Chaphole

Orientador: Marilena Aparecida Jorge Guedes de Camargo / Banca: Romualdo Dias / Banca: Eduardo Anibal Pellejero / Resumo: Entre a voracidade incontrolável que cavouca fissuras na escrita, as muitas vozes sobrepostas nas leituras dos autores e a euforia no espanto da infância, se faz este estudo. Entre os inquietos e incapturáveis movimentos que arremessam a escrita em fluxos que pulsam fora das linhas e as perguntas disparadas, (re)inventadas e embaralhadas na (co)mposição de espaços no cotidiano escolar. No palpitar dos interstícios em que cintilam vislumbramentos, a escrita se transmuta ao cair vertiginosamente nos labirintos cujas reconfigurações não cessam de se desfazerem, nos contágios de um olhar sem face, mudo, à espreita, no qual a pupila se expande e, ao mesmo tempo, se contrai, atraindo e expulsando as imagens para o assombro da cegueira em que irrompem visões de um olho cego, olhar cuja pupila desgovernada bailarina as confusões de uma menina festejando a desorganização dos corpos, pupila que invade todo o corpo e, na escuridão, vive as nervuras do abismo que atrai para fora, no fascínio das forças em que não há margens, não há rotas e não há rostos. No desfazimento dos rostos, o corpo se (re)inventa em cores e carícias, na feitura de cor(pos) em festa, corpos ex espelho-água-vidro, na delicadeza acqua corpo, em corpos nuvens que redobram e invertem em chão-céu o pátio da escola e tocam as distâncias intransponíveis do universo, translucidez azul de corpos que fluem em um rio sem fim, corpos que não se conformam ao esquadrinhamento das funções e localizações do organismo, não se enquadram à formatação de sujeitos e não se detém aos contornos dos papéis. Nas tentativas de recriar corpos-outros são disparados pensamentos que se acercam dos deslimites de um corpo na tensão dos fluxos intermitentes que se esvaem, deixando o rastro das intensidades que se apossam dos corpos e das escritas... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Between the uncontrollable voracity that digs crevices in the written word, the many overlapping voices in the readings of the authors and the euphoria in the wonders of childhood, over which this study was done. Between the restless and untraceable movements that throw the written word in a flow that pulsates outside the lines and the discharged questions, (re)invented and mixed in the (co)mposition of spaces in everyday school life. In the beat of the interstices in which glimpses sparkle, the written word transmutes when it plummets in the labyrinths whose reconfigurations do not cease to undo themselves, in the contagions, of a look without a face, mute, lurking, in which the pupil expands and at the same time contracts, attracting and expelling the images to the fright of the blindness in which visions erupt from a blind eye, the look whose out of control pupil dances the confusions of a girl celebrating the disorganization of the bodies, the pupil that invades the whole body and, in the darkness, lives the veins of the abyss that attracts to the outside, in fascination of the forces in which there are no margins and there are no routes and there are no faces. In the undoing of the faces, the body (re)invents itself in colors and strokes, in the making of bodies partying, bodies ex mirror-water-glass, in delicateness acqua body, in cloud bodies that contort and reverse into ground-sky the courtyard of the school and they touch the unreachable distances of the universe, blue translucency of bodies that flow in an endless river, bodies that do not abide by the framework of the functions and the locations of the organism, they do not fit into the formatting of subjects and are not limited by the outline of the paper. In the attempts of recreating other-bodies are discharged thoughts that come close to the vastness of a body in tension... (Complete abstract click electronic access below) / Mestre

Faculty of Education. Includes bibliographical references (leaves 194-222)

This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

Thesis (Ph. D. in German)--Vanderbilt University, May 2007. / Title from title screen. Includes bibliographical references.