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This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.

This interdisciplinary examination of literary texts and photography captures how Surrealism co-determined the identity construction of Spain 1927-1937 and Mexico 1930-1956. During the second quarter of the 20th Century, Surrealism travelled outside the French borders. Surrealist poets and artists were welcome in Spain and Mexico. Amongst them was the French poet André Breton. Drawing on poetry, prose, plays and photography, this thesis explores spaces and symbolic relations between certain elements of the landscape that were essential to Spanish and Mexican Surrealists and that had a direct relationship with the French poet. The central aim is to explore key spaces in which, myth, history and nature are inserted in their work, to suggest a new and vanguardist landscape. This thesis reveals that Surrealism played a key role in constructing a national identity in Tenerife and Mexico through urban and natural landscapes as a response to historical events. The method interweaves intertextual analysis of key poems, prose, plays and photographs with a theoretical surrealist frame (the manifestoes of Andre Breton and other essays) and literary contextualization. Utilising texts by Surrealist authors as well as translations from French authors, such as Breton, Péret or Artaud, as the main source, the case studies in this thesis show how urban and natural landscapes were essential and inherent in the reflection and construction of identity. This interdisciplinary examination of literary texts and photography captures how Surrealism co-determined the identity construction of Spain 1927-1937 and Mexico 1930-1956.

Butoh and Surrealism share some common features, three of which are: duality, symbolism and the manipulation of time. This project is an examination of the intersection of these elements and the development of a movement practice using these three, shared focusing lenses of Butoh and Surrealism, culminating in a performance. The methodology of this study sought to generate movement through improvisation and studio exercises based upon a melded Butoh/Surrealist universe developed through applied research in the convergent elements of duality, symbolism and the manipulation of time. The elements that I distilled ultimately informed movement choices shaping a movement offering; a generated example of what could happen when this choreographic process is applied.

The first part of my thesis will be about poet Zbyněk Havlíček's life and work. The work is mostly based on his heritage which is deposit in LA PNP in Prague in Strahov. The first chapter will describe the poet's personality in the view of his mother Marie and in the other part Havlíček's friends - Robert Kalivoda, Vratislav Effenberger and Josef Vyskočil - will comment his life. The second chapter will talk primarily about Havlíček's interpretation of surrealism. In this chapter I will also mention Havlíček's perception of the greatest surrealist André Breton. The last chapter will shortly introduce Zbyněk Havlíček 's poetics. The second part of the thesis will offer collection of his heritage (printed matters, manuscripts, correspondence) which is deposited in LA PNP in Prague in Strahov.

This is a supporting paper for a Master of Fine Arts graduate thesis exhibition of black and white photographs held in Slocumb Gallery April 2-7, 2001. The exhibit represents my major concentration of study in Art at East Tennessee State University. The photographs depict cultural aspects of the rural Smoky Mountains. I begin with a description of the means used to suggest the mysterious aspects of human existence in everyday life. The second chapter discusses the influences of Henri Cartier-Bresson and Graciella Iturbide and details aspects of the Surrealist aesthetic suggested in this body of work. Other articulated contemporary influences include Emmet Gowin, Sally Mann, and Andrea Modica. The content and treatment of five photographs from the exhibition is the main focus of chapter three. In conclusion, the photographs delineate an intimate portrait of several rural families and stand as a tribute to the mysterious in a common place.

This thesis is an interpretive inquiry which focuses on the curricular elements of a middle school program. The research project is based on the data collected from two specific classes and from five particular teachers, during the implementation phase of a middle school program. The research makes use of multiple methodologies including an empirical study, narrative accounts by teachers and students, interviews, autobiographical and biographical material, and notes from a personal journal. It was intended that the thesis create a detailed, multi-dimensional, image of the school curriculum. Common threads evident in the data obtained from the teachers indicated that there was an element of uncertainty regarding expectations for the middle school program, a perception that there was conflict over resources, a belief that disputes about curriculum `ownership' had impacted negatively on the program, and a degree of disappointment that the program's potential had not been fulfilled. Despite these constraints, all the teachers noted high levels of professional satisfaction and a sense of collegiality within the middle school team. The students did not express any particular preferences regarding curriculum content, but were principally concerned about the social environment within their own homegroup class and within the wider school community. A significant proportion of the students sampled commented positively on the relationships that they had developed with their peers and teachers. The findings appear to indicate that, provided that the class work is of some relevance and interest, young adolescent students are more concerned about who their teacher might be, rather than what they might actually teach. / The tensions that are inherent in the debate about the curriculum and who owns it are identified as difficulties that teachers and administrators need to address if new middle school programs are to be successfully implemented. It is a genuine issue that concerns teachers and schools, therefore, efforts should be made to find ways to ensure that debate about the curriculum takes place within an educational framework which, initially, is separate from any discussion regarding the management and allocation of resources. It might also be helpful if the debate were, in some way, held in `neutral territory', and not viewed as a matter of choice between a traditionally conservative curriculum and a radically progressive one, but perhaps something else. The thesis concludes with a suggestion that Surrealism might be used as a device by which the integrity of the subjects, found in a traditional curriculum, may be preserved in a structure that still allows for the rich and, perhaps, the strange possibilities of an integrated program. It could be seen as a recombination or different combination of disciplines which may create a more interesting whole, however, it would still be recognizable or, at least, its components would be. Reference is made to one particular painting by Rene Magritte, "Time Transfixed" as a means of illustrating this proposition.

Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. David Kirby, Florida State University, School of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 29, 2003). Includes bibliographical references.

Introduktion till artikelserien: Arkitekturen tillhör historiskt en av de stora konstarterna, men håller det här på att förändras? Förr räknades en fastighet ge vinst på 50, eller kanske 100, års sikt – i dag är byggbranschen otåligare. Allt mer byggs för att krängas direkt, och det påverkar arkitektgebitet. Byggherrarna har börjat inkräkta i den kreativa processen, med efterfrågan på att bygga ekonomiskt, sälja snabbt och tjäna mycket. Samtidigt ropar man från arkitekthåll efter mer konstnärlighet. Gör de ökade kraven på effektivitet att arkitekturen faktiskt håller på att likriktas? Urvattnas den artistiska ådran till förmån för ekonomi? I det här numret söker sig RUM till målarnas, skulptörernas och musikernas värld, för att se vad relationen mellan konst och arkitektur kan lära oss.

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