Surrealism is examined through its history and phenomenology. The frame of reference is shifted from the history of art to the history of religions; the premises of modern art historiography examined; and Surrealism placed within an interdisciplinary context. The conjunction between the Surreal and the sacred is developed through the phenomenological clues of the uncanny, the weird, and the irrational--popular perceptions of the Surreal. The Surreal is seen as the transition between the ordinary and the extra-ordinary: as the threshold of the sacred. The origins of the Surrealist impulse to "transform life" are traced to occultism, alchemy, and hermetic philosophy, that attempt to create "the union of opposites". Historically, Surrealism stems from this heterodox tradition of archaic, occult, and daemonic elements in European cultures, yet it radically opposes them to the accepted religion and conventional mentality. In so doing, Surrealism creates a new orientation based upon the power of contradiction and ambivalence.

A description of the artistic education and development of the author, William Harold Hopper, along with an account of how he conceived of and created several paintings. / "August, 1960." / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Karl Zerbe, Professor Directing Paper.

A discussion of the artistic education and development of the author, Stanley Boris Pransky, along with a commentary on the paintings of his one man exhibition. / "August, 1960." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Karl Zerbe, Professor Directing Paper.

A discussion of the artistic education and development of the author, Artemis Skevakis Jegart, along with a commentary on the paintings of his one man exhibition. / "January, 1953." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Edmund D. Lewandowski, Professor Directing Paper. / Includes bibliographical references (leaf 40).

"My understanding of the purpose of this paper is the criticism and evaluation of the candidate's exhibition, as partial fulfillment of the requirements for the Master of Arts degree. I interpret this program as it applies not only to the paintings collectively and individually, but as it affects the observer. An evaluation of the paintings as a group will involve a critical discussion of their individual merits and their place in the process of development, as well as a clarification of purpose to help explain their existence. This clarification, to be amplified later, must necessarily touch on the area dealing with values which give life import for me, since art is a way of living and growing, and the paintings are a record of it"--Chapter 1. / "February, 1952." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Edmund D. Lewandowski, Major Professor. / Includes bibliographical references (leaf 39).

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The purpose of this study is to explore the novels of a highly respected author of young adult literature and to summarize the plots, analyze the themes, and examine the motivations of the characters in a format that would be accessible and useful to the classroom teachers and students who read her novels. The bulk of the document will follow the format of the Twayne Series of Young Adult Writers, a serial publication of biographical information, plot summary, and critical commentary that is standard in many school libraries. Cynthia Voigt's novels are both popular with teachers and students and well-acclaimed by literary critics and scholars of young adult literature. The first chapter outlines Voigt's professional career and the events in her life that affected her writing. The four chapters that follow treat individual novels grouped as they relate to themes of defining a self, balancing commitment to self and family, learning to recognize and value individual differences, and finding the courage to challenge socially conventional expectations. The sixth chapter summarizes Voigt's philosophy of personal development as it is reflected in her writing, and the last chapter suggest strategies which could be applied to Voigt's novels in the classroom. Throughout the analyses of Voigt's novels, critical Opinions and scholarly commentary have been summarized to provide a perspective that is informed by a variety of sources of information about this author's work in particular and about young adult novels in general. / Ed. D.

Uncounted Cadences is a drawing installation in the thesis exhibition that furthers my exploration in tracing movement through psychological and physical geographies. Gestural drawings of human and animal bodies in motion are woven into local landscape imagery that is printed with powdered charcoal through a silkscreen. Using both additive and subtractive processes, the layering and erasure suggest loss, reclamation, and the nature of memory. The drawings are cut and provisionally reassembled into a cinematic sequence as if they are pieces of film being edited and spliced. This process shows an unfolding over time and involves listening to the rhythmic pacing of bodies morphing, decaying, birthing, or leaving. Time is not experienced as progress ; rather, the rearrangement of fragments allows for a continuous retelling of stories. / by Jill Lavetsky. / Thesis (M.F.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

The present thesis examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. The thesis will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince'. I will demonstrate that while the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis', independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis' in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu' and through an act of law-making violence.

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.