Thesis (Ph.D.)--University of Wisconsin--Madison, 2006 / Includes bibliographical references (p. 238-250). Also available on the Internet.

This thesis examines the work of Marcel Broodthaers (1924-76). It analyses why and how he became an artist, and considers his witty and ironic strategy for success. It explores his relationship with his contemporaries and predecessors, in 19th century French poetry, Surrealism, Pop and Conceptual Art. By making a conscious decision to become an artist, Broodthaers responded to, and commented upon, dominant movements of the period. He constantly referred to other artists and poets, for example Mallarmé, Baudelaire and Magritte, thereby bringing 19th century themes into the 20th century. In drawing upon his own background as a poet, he developed word-image and word-object concepts initiated by Magritte. In turn, these related to a use of language in what later became known as Conceptual Art. This thesis provides a broad analysis of Broodthaers' work as a whole. It examines his questioning approach, and his rejection of conventional definitions to demonstrate their instability. By discussing his poetry and early writings, his objects, museum, and later retrospective exhibitions or Décors, I have aimed to show how the different areas of his practice both interrelated and combined the material with the poetic. I have examined Broodthaers' focus upon the relationship between objects (also central to Structuralist theories) and the importance of the context in which objects exist, whereby he questioned Duchamp's assertion of the power of the artist or museum to define objects as art. A focus upon the relationship between things also informs the artistic context, or dialogue, into which Broodthaers entered, as well as the geographical context he explored via maps, notions of the voyage, and a sense of place. The artist's political position and moral responsibilities in society are discussed by analysing the responses of Broodthaers, Buren, Beuys and Haacke to a series of events in the early 1970s.

Thesis (Ph. D.)--Stanford University, 1975. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [244]-263).

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2001. / Includes bibliographical references. Also available on the Internet.

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

A fifty page manuscript of poetry and a critical introduction detailing the poet's aesthetics. Using the idea of the double-image and eroticism, the poet places her work in the category of the surreal. She describes the process of writing poetry born of fragmentary elements as a feminist emergence of agency. The manuscript is composed of four sections, each an element in the inevitable breakdown of a love relationship: meeting, love-making, birth of a child, death. Quotes from various authors of anthropological and fictional texts begin each section to reinforce thematic structure in a process of unveiling the agency of the narrator. The poems are organized as a series, beginning and ending with sequence poems.

No description available.

Thesis (M.F.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains vii, 53 p. Includes abstract.

Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 253-257).

Thesis (M.A.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-240). Also available for download via the World Wide Web; free to UO users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p1411593.