Pažimeckaitė J. Pasąmonės ir sapnų refleksijos mene. Paroda sapnų tema ,,Sitkanabal“: Audiovizualinio meno studijų bakalauro baigiamasis darbas. Vadovė asist. A.Plungienė; Šiaulių universitetas, Menų fakultetas, Audiovizualinio meno katedra. Šiauliai, 2011. 62 p. Darbe nagrinėjamos pasąmonės ir sapnų refleksijos vaizduojamame mene. Darbo tikslas remiantis teorine mokslinės literatūros ir menininkų kūrusių pasąmonės refleksijomis kūrybos analizėmis, sukurti savo sapnų vizijomis pagrįstą originalią meninę instaliaciją – parodą ,,Sitkanabal“, kuri yra kūrybinė darbo dalis. Šio tikslo siekiama teorinėje darbo dalyje nagrinėjant pasąmonės sampratą, jos pasireiškimą per meno kūrinius, įsigilinant ir aptariant įvairias sapnų teorijas, apžvelgiant lietuvos ir užsienio menininkų darbus nagrinėjama tematika, bei stebint asmeninius sapnus. / Pažimeckaitė J. Unconscious and dreams reflections in art. The exhibition by the theme of dreams - ,, Sitkanabal”: Multimedia Arts studies Bachelor of final thesis. Labour Leader assist. A. Plungienė; Šiauliai University, Faculty of Arts, Multimedia Arts Department. Šiauliai, 2011. 62 p. The object of work is to create an original art installation- an exhibition ‘Doog Thgin’ (the creative part of the work) which is created using the author’s visions of dreams with reference to the theoretical nonfiction literature and the analysis of artists’ works in which the reflection of sub-consciousness was used. This is achieved by examining the theoretical part of the concept of the unconscious, its manifestation through the works of art, analyzing and discussing various theories of dreams, reviewing the works of Lithuanian and foreign artists on the topic of an analyzing subject, also studying personal dreams.

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For Walter Benjamin, architecture is the clearest expression of the ‘latent mythology’ that underlies any historical epoch; by engaging with works of modernist architecture in continental Europe during the first half of the twentieth century, my project hopes to reveal the underlying tensions, mythologies, and contradictions that reveal modernity to be a construction both more open and unstable than might first be imagined. Using Benjamin’s work as a background also allows for Surrealist practice to become the dialectical foil to an architecture that is still widely understood as clinical, functionalist and utopic, but whose own paradoxes and uncanny intrusions ultimately reject a teleological and hyper-rationalist modernity. The tension between the profane and the messianic, time and timelessness, is here played out through modernist architecture as the search for the form and nature of dwelling within secular space. This culminates in a study of two of Benjamin’s allegorical characters, the collector and the brooder, who between them embody different modes of response to the conditions of modernity: on the one hand, a redemptive practice centred around creative bricolage and the unmasking of modernity’s ambiguity, on the other, the reactive and melancholic attitude of the brooder, whose private dreams of entering and rescuing the past negate the critical potential of romanticism – of the modernist architects and their project to build a meaningful world.

Thesis (Ph. D.)--Binghamton University, State University of New York, 2006. / Includes bibliographical references (leaves 300-321).

Thesis (M.A.)--Missouri State University, 2008. / "December 2008." Includes bibliographical references (leaf 9). Also available online.

x, 144 p. :　ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences. / Committee in Charge: Dr. Sherwin Simmons, Chair; Dr. Joyce Cheng; Dr. Charles Lachman

[pt] Nesta série de ensaios interdependentes sobre Murilo Mendes, buscamos iluminar diferentes aspectos de sua obra, em especial aquela produzida na Itália, onde o autor se fixou de 1957 até sua morte, em 1975. O fio implícito que liga estes ensaios é a indagação sobre a sua relação com o repertório da cultura ocidental, elemento destacado tanto em sua poesia quanto na prosa. Relação esta que o distingue de outros escritores modernistas, uma vez que, para Murilo Mendes, não se tratava de contrapor uma cultura à outra, mas de formar um conjunto único, em que as diferenças não assumem posição hierárquica, nos moldes, por exemplo, de uma equação centro-periferia. A metáfora do colecionador, que guia o primeiro ensaio, é utilizada como uma chave que permite analisar sua prosa-inventário da tradição ocidental. O surrealismo à brasileira do autor, tema de outro ensaio, mostra o modo peculiar como Murilo absorveu as vanguardas do início do século XX. E o seu projeto universalista é tratado no terceiro capítulo. Os textos que compõem este estudo procuram, assim, acercar-se dessa obra por meio de uma escrita ensaística, conforme definição de Adorno, em que os vários pontos se entrelaçam como em um bordado. Escrita marcada pelo experimento, mais do que pela busca de um pensamento sistêmico e conclusivo. / [en] This is a series of interdependent essays on Murilo Mendes which focus on different aspects of his work, particularly the texts he wrote in Italy, where he lived from 1957 until his death in 1975. The thread that implicitly runs through these essays is his relationship with the Western cultural repertoire, an aspect that stands out in both his poetry and his prose. Indeed, it is this that differentiates him from other Modernist writers. Murilo Mendes was not interested in setting one culture against another, but in uniting them in such a way that their differences were not represented hierarchically, such as center versus periphery. The metaphor of the collector that appears in the first chapter serves as a key for analyzing his body of prose from the Western tradition. His Brazilian-style surrealism is the object of another essay that discusses the particular way he incorporated the European vanguards of the early twentieth century. The third chapter is about his universalism. Overall, this study seeks to address the work of Murilo Mendes using the essay form as defined by Adorno, where points in the different texts interweave like a tapestry. The style is more experimental than strictly systematic or conclusive in its thinking.

This thesis consists of two parts, written and practical. The subject of the written part is life and work of the surrealist artist Toyen. Despite the fact that Toyen is primarily known as a painter, I look at Toyen primarily as a first class illustrator and graphic designer in my thesis. The practical part is then the making of author's books inspired by graphic creation of Toyen. The main sources of inspiration for me were mainly the drawing cycles from the war period, such as The shooting range, and her artistically adapted erotic themes that she pursued throughout the whole course of her work. The result is the making of author's book containing fifteen sheets including book jacket and flyleaf. The aim of my work was not only a summary and processing of the creation of this artist, but especially to give a tribute to Toyen in this way.

abstract: In the 1930s, several key fashion photographers were practicing Surrealists: Man Ray, Georges Hoyningen-Huené, Horst P. Horst, Cecil Beaton, and Erwin Blumenfeld. Each photographer explored surrealist-influenced fashion photography and drastically changed the way fashion was seen in the pages of Harper’s Bazaar and Vogue magazine. While scholars believe the assimilation of surrealist aesthetic devices in fashion photography commercialized Surrealism during the thirties, such photographic output has yet to be assessed in relation to surrealist thought and practice. This thesis argues that Ray, Hoyningen-Huené, Horst, Beaton, and Blumenfeld did not photograph fashion in the surrealist style to promote desire for the commercial product. Instead, they created new pictures that penetrated, radicalized, and even destroyed conventions of mass culture from inside the illustrated fashion magazine. / Dissertation/Thesis / Masters Thesis Art History 2018

This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). These explorations allow an examination of the way that Jennings’s films articulate the relationship between surrealism and the everyday, the sublime and the uncanny. The thesis asserts that there is a specifically British form of surrealism that has developed from the historical situation of Britain in the period from 1936 to 1946, one that draws from the national identity of Britain. The symbolic domain of British surrealism and its praxis can read in the films of Jennings and the auratic traces of Jennings’s films thread through the work of subsequent filmmakers. This thesis describes these traces as the communicating village. The thesis’s consideration of Jennings’s films in relation to surrealism offers a means by which to examine the work of subsequent filmmakers and to assess the importance of surrealism to British cinema.