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Essa dissertação apresenta mais uma aventura de Alice atravessando mais de um século de diálogos e figuras (e de que serve um livro sem figuras e nem diálogos, pensou Alice) com foco no surrealismo. A viagem parte do passeio de barco quando a estória de Alice foi contada pela primeira vez, chegando até as viagens da menina pela webland no mundo contemporâneo. As ilustrações de Lewis Carroll e John Tenniel apresentam a menina vitoriana, contrapondo às influências românticas e pré-rafaelitas de Carroll, à caricatura e às intertextualidades que cruzam às ilustrações de John Tenniel. Num Segundo momento a menina salta do livro de estórias infantis para o livro de imagens poéticas, viajando por um labirinto aonde encontra diversas Alices surrealistas. A femme enfant, a colagem, a imagem poética, a metamorfose, o objeto surrealista e o maravilhoso são os caminhos percorridos nessa aventura. Num terceiro momento Alice viaja pelo mundo contemporâneo aonde a ilustração ganha contornos mais complexos e desafiadores. Arte e ilustração se cruzam nas trilhas da menina de muitas faces. / This dissertation presents another adventure of Alice through more than a century of pictures and conversations (and what is the use of a book without pictures and conversations?, thought Alice to herself). The travel departs from the boat trip where the story of Alice was first told, arriving to the adventures of the girl in the web-land in contemporary world. The illustrations by John Tenniel and Lewis Carroll present the Victorian Alice, contrasting Carroll\'s influences of romanticism and pre-Raphaelism with the caricatures and intertextual procedures of John Tenniel\' illustrations. In a second moment the girl jumps from the book of children\'s stories to the book of poetic images, traveling through a maze where she will find several surreal Alices. Femme enfants, collages, poetic images, metamorphosis, surreal objects and the marvelous are paths crossed in this adventure. In the third part Alice travels in the contemporary world where illustration gets more complex and challenging contours. Art and illustration are on the trail of the girl of many faces.

O presente trabalho é uma escolha, entre muitos caminhos, de uma pesquisa iniciada no Curso de Mestrado. A dissertação, defendida em 2000, na FFLCH, USP, sob a orientação da Profa. Dra. Maria Lúcia Pimentel de Sampaio Góes, recebeu o título de O REINO VEGETAL E O IMAGINÁRIO: comparação entre mitos do Leste do Mediterrâneo, narrativas indígenas brasileiras e textos literários da Cultura Ocidental Européia, (ênfase a Portugal e Brasil). O caminho escolhido, agora, é detectar a influência dos vegetais na criação poética de Manoel de Barros. Voltados para o mundo das plantas, recortando poemas fitomórficos, relacionados aos vegetais do referido autor, comparando-os com textos visuais e verbais, observaremos possíveis semelhanças e ou diferenças Autores de Portugal, Brasil e África estarão presentes, com textos poéticos. O trabalho está estruturado em dois grupos de comparações: 1 autores brasileiros, portugueses e africanos de língua portuguesa. Escolhemos criações de autores como Cecília Meireles, Murilo Mendes, Lúcia Pimentel Góes, Fernando Pessoa, Herberto Hélder, Ruy Cinatti, Rui Knopfli, João Melo e outros. 2 textos visuais de Arcimboldo, pintor italiano, Van Gogh, holandês, René Magritte, belga e Frida Khalo, mexicana. Seguindo a Dissertação defendida em 2000, nosso trabalho está apoiado em três centros de interesse, seguindo as principais tendências observadas por Mircea Eliade1, em seus estudos sobre os mitos relacionados aos vegetais de diversos povos: a) A identificação da árvore com o cosmos b) A identificação da árvore com o homem c) A nostalgia do paraíso Esses centros de interesse aparecem entrelaçados de modo plural. Além disso, estarão mesclados em nossa pesquisa, os elementos: Terra, Ar, Fogo e Água, envolvendo os três níveis cósmicos: Mundo Subterrâneo, Mundo Terrestre e Mundo Celeste. / The current thesis is a choice, among many roads, of a research initiated during the Master´s course. The M.A.´s dissertation, defended in 2000, is the Faculty of Philosophy, Letters and Human Sciences, at the Universidade de São Paulo, under the supervision of Professor Dr. Maria Lúcia Pimentel de Sampaio Góes, was entitled O Reino Vegetal e o Imaginário: comparação entre mitos do Leste do Mediterrâneo, narrativas indígenas brasileiras e textos literários da Cultura Ocidental Européia (ênfase em Portugal e Brasil). The chosen path this time has been the detection of the influence of vegetals in Manoel de Barros´s poetic creation. Through the observation of the world of plants, the depiction of Manoel de Barros´s phitomorphic poems, related to vegetals and the comparasion to visual and verbal texts, we shall focus on possible similarities and or differences. This work is structured in two comparative groups: 1 Brazilian, Portuguese and African of the Portuguese language authors. We have chosen works by authors such as Cecília Meireles, Murilo Mendes, Lúcia Pimentel Góes, Caetano Veloso, Fernando Pessoa, Herberto Hélder, Ruy Cinatti, Rui Knopfli, João Melo and others. 2 Visual texts by Arcimboldo, Italian painter, Van Gogh, Dutch, René Magritte, Belgian and Frida Khalo, Mexican. According to the 2000 Master´s dissertation, this work has its basis upon three centers of interest, which follow the main tendencies that appear in Mircea Eliade´s studies on myths related to diverse peoples ´ vegetals: a) The identification of trees to the cosmos. b) The identification of trees to men. c) Paradise´s nostalgia. These centres of interest are plurally intertwined. Moreover, they are here mixed with such elements as Earth, Air, Fire and Water, involving the three cosmic levels: the Subterranean, Terrestrial and Celestial worlds.

As a Kentuckian, the past has always seemed to maintain a complex relationship with the present. Subdivisions spread across what were once tobacco fields and plantation estates; Appalachian folkways have long been slowly disappearing due to technological change, outmigration, and environmental degradation. In the poetry collection “pretty sad endings,” I try to ask— as our physical and cultural landscape changes, what are we losing, and what do we gain? And what remains (however transformed)? I use surrealism throughout the manuscript to elevate aspects of contemporary suburbia, Americana, relationships, and popular culture to the level of the mythical and spiritual. By distorting the everyday, I hope to tease out some of the real wonder that might be waiting in unexpected places, such as a cul-de-sac, a freeway billboard, or a drugstore parking lot. In these poems, I also try to create spaces where humor and emotional sincerity can coexist, while maintaining a raw curiosity in the strangeness and power of words themselves. My hope is not just that this collection can communicate some of the joys and hardships and eccentricities of my home, but that it can also speak relevantly about contemporary American life and relationships to readers anywhere.

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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life / Master of Arts (Hons)

My thesis exhibition entitled The Privilege of Being Solid is an exploration of the tension that is generated by our desire for an ultimate corporeal security and the realization that nothing is permanent. This tension expresses itself in the world in varying degrees through programs of repression oscillating with periods of chaos. <p>We live in a post-modern era of fragmentation and uncertainty, although modernist attitudes concerned with universals, certainties and a manic desire to control largely guide many of our institutions, political and otherwise. I believe that this desire to control creates cultural anxiety due to the virtual unattainability of certainty and control. This denial of our inherent insecurity, vulnerability and ultimate mortality generates a violence that feeds back into our collective anxiety. The loop perpetuates itself in a cycle of fear, denial and arrogance that fuels a raft of industries devoted to security, feeding off of our communal angst. The very human characteristic that has enabled these circumstances is the subject of this exhibition.<p>It is my intention to reflect some of the contradictions found in our current condition by generating a dialogue between fragility and strength; beauty and the abject; certainty and doubt; liquid and solid; as well as humor and emotional gravity. These contradictions extend to my material of choice as well. With the exception of a two channel video installation, all the works in the exhibition employ encaustic (wax) processes. Although wax appears to be solid, it is in fact classified as a liquid. It is always in flux and unless conditions are ideal, wax remains in a precariously unstable condition. It also reflects in its materiality, a sensuality that is of primary importance to me as an artist, both in terms of the processes in which I engage in my studio, as well as the objects I create for a potential viewer.<p>Through sculptural processes of casting, pouring and melting, encaustic mark making and digital manipulations of physical theater, I want to contrast the forces at work within our lives that seek to control our environment with notions of surrender to the natural state of impermanence in which we reside. I want to reflect the oscillation between the collective desire for security and the knowledge of our inherent fragility and vulnerability.

My thesis exhibition entitled The Privilege of Being Solid is an exploration of the tension that is generated by our desire for an ultimate corporeal security and the realization that nothing is permanent. This tension expresses itself in the world in varying degrees through programs of repression oscillating with periods of chaos. <p>We live in a post-modern era of fragmentation and uncertainty, although modernist attitudes concerned with universals, certainties and a manic desire to control largely guide many of our institutions, political and otherwise. I believe that this desire to control creates cultural anxiety due to the virtual unattainability of certainty and control. This denial of our inherent insecurity, vulnerability and ultimate mortality generates a violence that feeds back into our collective anxiety. The loop perpetuates itself in a cycle of fear, denial and arrogance that fuels a raft of industries devoted to security, feeding off of our communal angst. The very human characteristic that has enabled these circumstances is the subject of this exhibition.<p>It is my intention to reflect some of the contradictions found in our current condition by generating a dialogue between fragility and strength; beauty and the abject; certainty and doubt; liquid and solid; as well as humor and emotional gravity. These contradictions extend to my material of choice as well. With the exception of a two channel video installation, all the works in the exhibition employ encaustic (wax) processes. Although wax appears to be solid, it is in fact classified as a liquid. It is always in flux and unless conditions are ideal, wax remains in a precariously unstable condition. It also reflects in its materiality, a sensuality that is of primary importance to me as an artist, both in terms of the processes in which I engage in my studio, as well as the objects I create for a potential viewer.<p>Through sculptural processes of casting, pouring and melting, encaustic mark making and digital manipulations of physical theater, I want to contrast the forces at work within our lives that seek to control our environment with notions of surrender to the natural state of impermanence in which we reside. I want to reflect the oscillation between the collective desire for security and the knowledge of our inherent fragility and vulnerability.

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My dissertation examines the role played by the surrealist object in the avant-garde strategies of the French surrealist group, in the difficult political circumstances of the 1930s. In my reading, the surrealist object is located in a critical relation to modern art; it depends on the invention of collage for its own realization, but it also attempts to supersede modernism through an act of desublimation, the return of art to its sexual origins. A n understanding of this critical relation is established through Peter Burger's Theory of the Avant-Garde, through the use of psychoanalytic theory, and through an understanding of the difference between Kantian and Hegelian aesthetics. The object's invention in 1931 is then related to the cultural debates occurring on the revolutionary left in France and the Soviet Union. The surrealists wish to achieve an alliance with the Parti Communiste Francais, but avoid the politicization of the cultural field undertaken by the Communists in both countries. They answer the demand for the politicization of art with the supersession of art, for which the object provides a model. In the 1930s, the surrealists develop the notion of a revolutionary science that would forge a relation between action and interpretation. They attempt to indicate such a relation in a number of experimental texts, taking unconscious thought as the object of their investigation. As a central category of their reflection in this period, the surrealist objects are often given as extra-aesthetic examples of such thought in physical form. The rise of the Popular Front and the move of the P.C.F. towards a reformist politics presented a crisis for the surrealist movement. A number of surrealists, like Tristan Tzara, Rene Char and Roger Caillois, split with their group in order to work with the Popular Front, while the larger part of the surrealist group broke with the P.C.F. and the Soviet Union. The break with Stalinism led the surrealists to the point of an alliance with the modern art they had once claimed to supersede; from now on, interpretation would be preserved, at the expense of action. The surrealist object, which had exemplified the relation between action and interpretation, begins to recede from view after 1936, as the avant-garde project that had brought it into being became increasingly difficult to sustain.