Texte remanié de: Dissertation--Göttingen--Georg-August-Universität, 2004. / Bibliogr. p. 374-409.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

The purpose of this creative project was to explore the need of the artist to represent a spiritual consciousness in a material-dominated society. It was felt that a return to the mythical origins of art and a resurrected faith in the supernatural would help stimulate creativity, promote inward growth and enhance the evolution of consciousness. The artist examined mystical and philosophical literature which lead to the use of the concept of the sublime by nineteenth century landscape painters as well as the "Abstract Sublime" painters of the mid-twentieth century. Also important was the effect of the Theosophic Society's geometric iconography and color theories on two of the pioneers of abstract art, Kandinsky and Mondrian. These inquiries were incorporated into a large,; three-dimensional, mixed-media installation. / Department of Art

Thesis (Ph.D.)--University of Western Australia, 2005.

Thesis (B.A.)--Bryn Mawr College. Dept. of History of Art, 2008. / Includes bibliographical references.

Thesis (M.L.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 77-81).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 151-155).

Mem. DEA--Lettres et arts--Aix-en-Provence--Université de Provence, 1992. / Bibliogr. p. 75-76.

Cette étude s’attache à analyser l’aspiration des théories architecturales contemporaines à l’idée d’« auto-définition » de l’œuvre architecturale à travers le débat philosophique qui oppose l’irreprésentable à la représentation dans l’art. Nous entendons, en nous appuyant sur la définition donnée par Jacques Rancière dans Le destin des images, par le terme générique d’« irreprésentable » un évènement ou une idée dont on dit que la singularité dépasse toute la représentation que peut fournir l’iconographie architecturale. Nous soutenons que l’idée d’« auto-définition » de l’architecture se présente sur le plan conceptuel comme une tentative de représentation de l’irreprésentable. La contradiction interne qu’un tel projet génère exige une technique supplémentaire qui transformerait cette contradiction en une affirmation d’exceptionnalité nouvelle de l’œuvre. Cette technique n’est pas une invention récente, son nom historique est le sublime.Notre travail montre que sous ses formes diverses le concept de sublime est impliqué dans les mutations de la discipline architecturale, de telle sorte que l’historicité du sublime pourrait être confondue avec celle de l’architecture ; ce non pas du point de vue de l’iconographie, de l’évolution des styles et des formes architecturales, ni non plus comme une manière spécifique de voir l’architecture, mais précisément en termes de rapport particulier entre la forme et le contenu, entre une manière de faire et une manière de dire, ou plutôt selon une certaine condition de possibilité autorisant les opérations d’inclusion et d’exclusion des éléments théoriques hétérogènes au sein du discours architectural. / Through the philosophical debate opposing the unrepresentable to representation in art, this study analyzes contemporary architectural theories' aspiration towards the idea of "self-definition" of the architectural work. The generic term “unrepresentable” (irreprésentable), following Jacques Rancière's definition in Le destin des images, here stands for an event or an idea whose singularity exceeds any representation provided by architectural iconography. We contend that the idea of "self-definition" of architecture is, from a conceptual standpoint, an attempt to represent the unrepresentable. The internal contradiction generated by such a project requires an additional technique transforming this contradiction into a new affirmation of the work's novelty. Such a technique is no recent invention: its historical name is the sublime.We show that in its various forms the concept of the sublime is involved in the architectural discipline's mutations, to the point that the historicity of the sublime can be identified with the historicity of architecture. Not so from the point of view of iconography, the evolution of styles and architectural forms, nor either as a specific way of seeing architecture; but precisely so in terms of a relationship between form and content, between a way of doing and a way of saying, or rather of a certain condition of possibility allowing operations of inclusion and exclusion of heterogeneous theoretical elements within the architectural discourse.

As relações da psicanálise com as obras de arte, a filosofia da arte e as disciplinas estéticas têm sido objeto de inúmeras investigações. Desde sua invenção, a experiência artística esteve presente na argumentação metapsicológica de Freud. E se uma primeira aproximação do tema poderia sugerir que o recurso às formas artísticas ali encontraria uma função meramente expositiva, mobilizado em benefício da ilustrabilidade das teses e proposições psicanalíticas, ou debatidas sob a perspectiva de sua aptidão em demonstrar a plausibilidade das idéias freudianas, cumpre apontar para o que se possa conceber para além desse dispositivo puramente metodológico. A arte realiza na obra freudiana uma função legitimamente heurística. Em momentos decisivos do estabelecimento de determinadas teses da metapsicologia, o recurso ao debate interpretativo acerca de figuras e experiências artísticas provê aportes fundamentais para a configuração e consolidação das mesmas. Recurso esse, é bem verdade, que coexiste e articula-se com elementos extraídos das investigações clínicas de Freud, esses ainda mais frequentes e não menos importantes para os contornos da teoria psicanalítica. O conceito de sublimação é aquele que reúne, sob o extenso e complexo panorama de sua inserção metapsicológica, os mais diversos apontamentos freudianos acerca das consequências e pormenores subjetivos de vicissitudes das mudanças de alvo da pulsão, das quais a experiência artística é um paradigma exemplar. Tal conceito é aqui revisitado, com vistas a restabelecer suas principais matrizes teóricas e alguns de seus matizes doutrinais, numa investigação interna à obra de Freud. Mas, preponderantemente, a discussão aqui pretendida entrevê as conexões da teoria freudiana da sublimação com os elementos artísticos que nela infletem ou à ela subjazem. Na esteira desses desdobramentos, fez-se crucial um debate entre o conceito de sublimação e momentos da filosofia moderna do sublime. Um debate que, em seu desenlace, buscou revelar, quanto a doutrina freudiana da sublimação e acerca da apreensão freudiana das obras de arte, os principais efeitos que sobre ela parecem ter exercido aspectos das idéias de Kant, Schopenhauer e Schiller em suas investigações acerca do belo e do sublime. Se o conceito de sublimação não pode ser subsumido à filosofia do sublime, ali figurando como mais um de seus capítulos, ele é todavia permeável a esse debate, sob aspectos que, por motivos e circunstâncias que aqui se procurou evidenciar, Freud jamais soube suficientemente explicitar. / The relationship between psychoanalysis and works of art, the philosophy of art, and the aesthetic disciplines have been the subject of innumerable studies. Since its invention, the metapsychology of Freud has discussed the artistic experience. Beyond merely serving as a methodological exercise for the purpose of illustrating psychoanalytic theses and propositions or demonstrating the plausibility of Freudian ideas, revisiting the topic of artistic expression succeeds in extending their conceptual range. Art serves a legitimately heuristic function in Freudian works. At crucial points in the establishment of particular metapsychological theses, the configuration and consolidation of the theory receives fundamental support from revisiting the interpretation of artistic expression and experience. It is true that this involves elements which are extraneous to the clinical investigations of Freud, but this does not diminish their importance to the shape of psychoanalytic theory. Due to the extent and complexity if its insertion into metapsychological theory, the concept of sublimation reunites many diverse Freudian concepts concerning the effect of subjective idiosyncracies upon the way in which impulses are directed to a target, and the artistic experience serves as a paradigm for this process. The concept is revisited here in an internal investigation of the works of Freud for the purpose of elucidating its principal theoretical origins and some of its nuance. However, for the most part, this discussion intends to connect the Freudian theory of sublimation to artistic elements that are expressed in, or underly, it. In the course of these expositions, there is a crucial dialogue between the concept of sublimation and modern philosophy\'s propositions concerning the sublime. The debate ultimately seeks to reveal how much the Freudian doctrine of sublimation and the Freudian understanding of art have been effected by, and employed, the ideas of Kant, Schopenhauer, and Schiller in its investigation of beauty and the sublime. If the concept of sublimation cannot be subsumed within the philosophy of the sublime, configured as one more of its chapters, it is nevertheless permeable to that discussion, with the view that, for motives and circumstances which herein one attempts to make evident, Freud never knew how to make it sufficiently explicit.