The notion of surreal number was introduced by J.H. Conway in the mid 1970\'s: the surreal numbers constitute a linearly ordered (proper) class No containing the class of all ordinal numbers (On) that, working within the background set theory NBG, can be defined by a recursion on the class On. Since then, have appeared many constructions of this class and was isolated a full axiomatization of this notion that been subject of interest due to large number of interesting properties they have, including model-theoretic ones. Such constructions suggests strong connections between the class No of surreal numbers and the classes of all sets and all ordinal numbers. In an attempt to codify the universe of sets directly within the surreal number class, we have founded some clues that suggest that this class is not suitable for this purpose. The present work is an attempt to obtain an \"algebraic (set) theory for surreal numbers\" along the lines of the Algebraic Set Theory - a categorial set theory introduced in the 1990\'s: to establish abstract and general links between the class of all surreal numbers and a universe of \"surreal sets\" similar to the relations between the class of all ordinals (On) and the class of all sets (V), that also respects and expands the links between the linearly ordered class of all ordinals and of all surreal numbers. We have introduced the notion of (partial) surreal algebra (SUR-algebra) and we explore some of its category theoretic properties, including (relatively) free SUR-algebras (SA, ST). We have established links, in both directions, between SUR-algebras and ZF-algebras (the keystone of Algebraic Set Theory). We develop the first steps of a certain kind of set theory based (or ranked) on surreal numbers, that expands the relation between V and On. / A noção de número surreal foi introduzida por J.H. Conway em meados da década de 1970: os números surreais constituem uma classe (própria) linearmente ordenada No contendo a classe de todos os números ordinais (On) e que, trabalhando dentro da base conjuntista NBG, pode ser definida por uma recursão na classe On. Desde então, apareceram muitas construções desta classe e foi isolada uma axiomatização completa desta noção que tem sido objeto de estudo devido ao grande número de propriedades interessantes, incluindo entre elas resultados modelos-teóricos. Tais construções sugerem fortes conexões entre a classe No de números surreais e as classes de todos os conjuntos e todos os números ordinais. Na tentativa de codificar o universo dos conjuntos diretamente na classe de números surreais, encontramos algumas pistas que sugerem que esta classe não é adequada para esse fim. O presente trabalho é uma tentativa de se obter uma \"teoria algébrica (de conjuntos) para números surreais\" na linha da Teoria dos Algébrica dos Conjuntos - uma teoria categorial de conjuntos introduzida nos anos 1990: estabelecer links abstratos e gerais entre a classe de todos números surreais e um universo de \"conjuntos surreais\" emelhantes às relações entre a classe de todos os ordinais (On) e a classe de todos os conjuntos (V), que também respeite e expanda os links entre as classes linearmente ordenadas de todos ordinais e de todos os números surreais. Introduzimos a noção de álgebra surreal (parcial) (SUR-álgebra) e exploramos algumas das suas propriedades categoriais, incluindo SUR-álgebras (relativamente) livres (SA, ST). Nós estabelecemos links, em ambos os sentidos, entre SUR-álgebras e álgebras ZF (a pedra angular da Teoria Algébrica dos Conjuntos). Desenvolvemos os primeiros passos de um determinado tipo de teoria de conjuntos baseada (ou ranqueada) em números surreais, que expande a relação entre V e On.

Dans les années d’entre-deux-guerres, de nombreux intellectuels ont voyagé afin de circonscrire l’amplitude de la crise qui secouait le siècle au lendemain de la guerre. Céline et Döblin ont apporté une interrogation particulière et inédite de cette problématique. Les deux auteurs dans "Voyage au bout de la nuit" et "Babylonische Wanderung" ont utilisé le roman pour interroger ce qu’est être un homme, désormais. Une crise de la littérature s’est fait l’écho du désenchantement qu’a connu le monde, et les deux auteurs l’ont traduite par le biais de jeux romanesques, par le détournement de motifs relatifs au voyage, et de libertés prises avec les conventions esthétiques de la représentation du réel. En ouvrant les frontières du réel par l’emprunt de tonalité burlesque ou fantastique à une sphère surréelle, Céline et Döblin ont interrogé la nature imparfaite de l’homme. Ce travail s’efforce de mettre en exergue la singularité du regard des protagonistes sur le monde sondant un dépassement du réel dans leurs nombreux voyages, traduisant l’esprit d’expérimentation au centre de la pensée des années d’entre-deux-guerres au niveau politique, idéologique, médical et scientifique, et a défini leur style. Face au spectre large des monstruosités que révèle l’expérimentation du réel et de la sphère surréelle, Céline et Döblin ont proposé la posture cynique. Deux options cyniques, d’un écrivain à l’autre, celle du cynique antique et celle du cynique moderne, émergent de leurs voyages et de leurs expérimentations. Il ressort de ce travail la mise en évidence de l’incarnation littéraire de la crise du roman par l’analyse de l’expérimentation de cet au-delà du réel prégnant des fondements d’une crise de l’humanisme. / During the interwar years, many intellectuals have travelled to delimit the impact of the crisis that shook the century in the aftermath of the World War I. Celine and Döblin brought an unprecedented and particular questioning on this issue. In "Voyage au bout de la nuit" and "Babylonische Wanderung" both authors used the novel to question what it means to be a human being, from this moment. A Literature crisis has echoed the disenchantment known by the post-war world and both authors translated it through fictional games, through the diverting of travel-related patterns and through liberties taken with the aesthetic conventions of representations of reality. Opening the boundaries of reality by burlesque or fantastic tonalities borrowed from a surreal sphere, Celine and Döblin questioned the flawed nature of the human kind. This work aims at underlining the singularity of the characters’ look upon the world and how they explored a reality surpassing during their numerous travels. By doing so, they expressed the experimentation spirit that dominated the thought in the interwar years at different level (political, ideological, medical, scientific etc.), and this, contributed to define their literary style. Facing the wide range of monstrosities revealed both by the experimentation of reality and by the surreal sphere, Celine and Döblin offer a cynical position. Two cynical options, from one author to the other, stand out from their travels and experiences: the antic one and the modern one. This work highlights the literary embodiment of the novel crisis by analysing how is made the experience of going beyond reality, which pioneers significantly the foundations of the crisis of humanism values.

Each painting in this exhibition is a transformed documentation of a specific experience culled from my daily, ordinary life. These encounters are not monumental; however their impact is significant because of their disturbing, disgusting, puzzling and humourously entertaining qualities. The awkwardness and resulting ambiguity of my imagery is defined through connections to the uncanny, the surreal, the grotesque and the literary genre of tragicomedy. The work also acknowledges a strong relationship to historic traditions within painting and aspires to use comedy to provide an opportunity for viewers to retrieve and recreate a moment of personal history.

Tikro, programinio, siurrealizmo Lietuvoje nebuvo tarpukariu, t. y. istorinio siurrealizmo laikais, nebuvo jo ir XX a. II pusėje. Negalime kalbėti apie siurrealizmą Lietuvoje, tačiau neabejotina, kad siurrealumo apraiškų yra mūsų XX a. II pusės dailėje. Šiame darbe terminas siurrealumas naudojamas kaip estetinė kategorija, nurodanti sąsajas su kai kuriais siurrealizmo, kaip modernizmo judėjimo, bruožais, vaizdo kūrimo principais. Disertacijoje svarbi sąvokų siurrealumas ir siurrealistiškumas skirtis: pirmasis terminas nebūtinai susijęs su istoriniu siurrealizmu. Pirmiausia mėginama išgryninti aktualius XX a. II pusės Lietuvos dailei siurrealumo bruožus, išnagrinėti siurrealumo bruožų turinčią lietuvių dailininkų kūrybą kaip savitą meninį reiškinį. Siurrealūs kūriniai dažnai priklauso XX a. antrosios pusės Lietuvos dailės istorijos „paraštėms“, jos mažajam naratyvui, ir gali būti traktuojami kaip dalinė opozicija didžiajam, kanoniniam naratyvui, ekspresionistinės krypties dominavimui. Nors siurrealumo apraiškos Lietuvos dailėje nesuformavo savarankiškos dailės krypties, siekta XX a. antrosios pusės pagrindinį Lietuvos dailės istorijos naratyvą papildyti mažuoju siurrealumo naratyvu. / There was no real, programmatic Surrealism in Lithuania between the two wars, when the historical Surrealist movement was at its peak; nor was there any influence of Surrealism here in the second half of the twentieth century. In this work the term the surreal is used as an aesthetic category pointing to the links with some of the features of Surrealism as a modernist movement and its principles of image creation. The divide between the concepts of the surreal and the surrealist aspect is important in this dissertation: the former term is not necessarily related to historical Surrealism. In this dissertation an attempt is made to crystallize the features of the surreal which were topical for Lithuanian art in the second half of the twentieth century. The thesis aims to single out the concept of the surreal and develop its content; to examine the artwork of Lithuanian painters that contains the features of the surreal as an original artistic phenomenon. Surreal artwork belongs to the 'margins' and 'the small narrative' of Lithuanian art in the second half of the twentieth century, and can be treated as a partial opposition to the big canonical narrative and the predominance of the expressionist trend. Although the manifestations of the surreal in Lithuanian art did not shape an independent trend in art, an attempt has been made to expand the main narrative of the Lithuanian art of the second half of the twentieth century with the a small narrative of the surreal.

Each painting in this exhibition is a transformed documentation of a specific experience culled from my daily, ordinary life. These encounters are not monumental; however their impact is significant because of their disturbing, disgusting, puzzling and humourously entertaining qualities. The awkwardness and resulting ambiguity of my imagery is defined through connections to the uncanny, the surreal, the grotesque and the literary genre of tragicomedy. The work also acknowledges a strong relationship to historic traditions within painting and aspires to use comedy to provide an opportunity for viewers to retrieve and recreate a moment of personal history.

Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / BEASTS is a character driven play that explores the chaos of American womanhood through the dark underbelly of a relationship between Fran, a pregnant suburbanite and her older sister Judy, an irreverent artist with a propensity for disruption. When Judy hears that Fran’s husband, Jim is on a business trip she decides to pay Fran a visit. The friction between these siblings is palpable and continues to intensify as Judy unearths confounding secrets and infringes upon the relationship that Fran has with her Doula, Amelia, an elitist earth mama who’s been Fran’s only female friend since relocating back East. The world of the play begins in realism and ends in magical realism; as their environment starts to mirror the anarchy of their psychological labyrinthine world: a giant tree falls in the middle of the living room, the walls of the house cave in, raging wolves howl in the distance. Form and logic disintegrate into another realm as Fran and Judy unwittingly fight through pain to arrive at a moment of love which is devitalized when Jim returns home. / 2999-01-01T00:00:00Z

Quotations like the Sharpest Claws describes a multimedia installation composed of paintings and sound that explores the theory of cognitive dissonance, a controversial psychological model that attempts to explain how we deal with inconsistency in incompatible beliefs. Imagination is given primacy as a source for truth-seeking and world-building. The uncanny and surreal are used as entry points into this topic. The title is derived from a description of Eileen Myles’ poetry I once read in an anonymous review. Their writing was described as beyond poetry in a way that it could only be described as such when surrounded by “quotations like the sharpest claws.” This phrase has since stuck with me as a way to describe my own work, dealing with “truth,” “metaphor,” and “cognition”, although in my case these claws are indicative of doubt surrounding the aforementioned subjects.

This creative thesis is comprised of stories that present characters who deal with guilt and betrayal and explores various points of view. My work is informed by Junot Diaz’s The Brief Wondrous Life of Oscar Wao, which contains these themes and investigates narration. “Surviving Fog” centers around survivor’s guilt, while “Coming Full Circle, No Detour in Sight” demonstrates how a person can exert expectations on herself due to a religious background and personal values. Perhaps my most provocative story, “Beyond the Apple Orchard” delves into the emotional and physical betrayal of a father and the daughter’s struggles to overcome it. “Photographic Memories” embraces the surreal with a woman who can “read” photographs, whose story blends past transgressions that bleed into current ones, while “Send in the Clowns, Send in the Mob” explores herd mentality that stems from fear. Ultimately, each story contains kernels of truth that readers can grasp.

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