Att skapa en berättelse inom illustration, som till exempel i serier, går oftast ut på att en bild följs av en annan för att berättelsen ska vara förståelig och tydlig. Blandar man ihop bilderna blir serien utan en röd tråd och berättelsen tappar sitt narrativ men storytelling är mer än att endast para ihop bilder i en följd så som det ska vara. I denna undersökning utforskar vi hur man kan skapa en serie illustrationer som skapar ett narrativ oavsett hur de sätts ihop. Vi har utforskat surrealistiska konstmetoder som automatism, cut-up, association, och bildgenerering då våra illustrationer har inslag av surrealism. Därefter har vi använt oss av användartester för att få en uppfattning om hur effektiva våra illustrationer är i att skapa flera narrativ genom illustrationernas ordning. Vi har dragit kopplingar till film, comics, och illustrationer samt går vi in på djupet gällande hur saker som färg, form, komposition, miljö och hur dessa faktorer påverkar ett narrativ. Våra illustrationer fokuserar på visuell kommunikation utan hjälpmedel som text, ljud, eller rörelse (animation). Resultatet pekade på att det mesta beror på individen, ens egna erfarenheter och bakgrund, för att hitta ett narrativ i en mängd illustrationer som är öppna för tolkning. / Creating a story with illustrations such as comics is usually made through a set sequense of pictures in an order that makes the story comprehensive. If you move the pictures around the story loses its narrative however storytelling is more than putting pictures in a sequence. This paper is made with the purpose of exploring how we can create a series of illustrations with a comprehensive narrative no matter what order you put them in. Since our illustrations are inspired by the artform of surrealism we have explored surrealistic methods such as automatism, cut-up, association, and generating of pictures. We later used user testing to test the effectivness of our illustrations and their capability to create multiple narratives based on the order of the illustrations. We have made connections to things such as movies, comics, and illustration and take a deep dive into factors like colour, shape, composition, background and how they affect the narrative. Our illustrations focus on visual communication and will therefore not include text, sound, or movement (animation). The result showed that it depends on the individual, a person's own experiences and background, to find a narrative in a set of illustrations that are open for interpretation.

Groupe surréaliste en activité pendant l'Occupation allemande, la Main à plume représente un moment dense du communisme des esprits surréaliste. C’est une génération nouvelle caractérisée par la rencontre entre des héritiers directs du mouvement d'avant-guerre proches d'André Breton, et un groupement hétérodoxe composé de transfuges des Réverbères, une revue post-dadaïste active dans les dernières années d'avant-guerre, de personnalités plus périphériques et aussi par une proximité entre le surréalisme parisien et le surréalisme belge. À son actif, on compte de nombreuses plaquettes collectives et individuelles, dont le célèbre Poésie et Vérité 42 d'Éluard. Le groupe s'est approprié la geste surréaliste et a investi la question poétique autant comme signe d'un ralliement dans le champ littéraire de l'Occupation que comme lieu d'une vie plus valable. Elle a fait de la poésie collective et des œuvres en collaboration un des axes de son activité. La Main à plume est aussi une micro-société éprouvée par la guerre, comptant des juifs et des étrangers en son sein, des jeunes gens soumis au STO. Elle est marquée par un engagement, en lien avec les trotskistes d'abord, dans la lutte contre l'Occupant et que le groupe va payer durement. En quelques années, la Main à plume a abordé les grandes questions de la poétique surréaliste dans une approche expérimentale, propice à l'émergence de nouveaux protocoles d'invention et une valorisation des matériaux de la réalité, comme matière créatrice. Elle s'est penché sur de nouveaux médiums, comme la musique. Elle est également marquée par une approche théorique du surréalisme dont l’aboutissement sont les recherches collectives autour de L'Objet, un projet de plaquette collective qui va rester inédit. / La Main à plume, a surrealist group active during the German occupation, represents a particularly intense moment of communism of the surrealist minds. This generation is characterized by the encounter between the direct inheritors of the pre-war movement close to André Breton and a heterodox group built by deserters of Réverbères, a post-Dadaist magazine which had been active during the last years of the pre-war years, as well as more peripheral personalities, and a proximity between the Parisian and the Belgian surrealism. Whilst active they produced several collective and individual volumes of poetry, among them the famous Poésie et Vérité 42 by Paul Éluard. The group adopted the surrealistic gesture and invested the poetical question as a sign of joining the literary scene of the Occupation, as well as the place of a more valuable life. The group made collective poetry and collaboration the central themes of its activities. La Main à plume was also a micro-society struck by war, including Jews and foreigners within the group, a youth forced into the compulsory work service (STO). La Main à plume makes collective poetry and collaborative work one of the central themes of its activities. La Main à plume was also a micro-society hit by the war, including Jews and foreigners within the group, young people forced to Compulsory Work Service. The group is marked by its engagement, firstly in connection with the Trotskyists, then against the forces of the Occupation, for which they paid dearly. In a few years, La Main à plume had tackled the great questions of surrealist poetry through an experimental approach, offering new protocols of invention and valorizing the materials of reality as artistic materials. They looked to new mediums, such as music. They also conceived of a theoretical approach to surrealism, which took the form of intensive collective research around L’Objet, a poetry volume which remains unpublished.

The topic of this dissertation is the phemomenon of the dream, dreamy picture and their projection into the creation of surrealist artworks. The disertation tries to connect the basic knowledge of psychoanalysis and the history of art. The thesis attepmts to solve the questions of how the dream imagination is different from the imaginative art of the previous centuries and how the dream topics are involved in the artworks. One of the most important resources for the art work of surrealism was in the psychoanalysis and the knowledge of the work of Sigmund Freud. That is the reason why the first part of this thesis is dedicated to Freud?s The Interpretation of Dreams and the dream symbolism ? its origin, knowledge resources and reflection in the fine arts. The closing chapter uses the previously undiscovered knowledge to present the work of Jindřich Štýrský and tries to indicate how the dream imagination was projected to the artwork of this signifiant surrealist painter.

This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.

This paper is an attempt to construct the conceptual context of one of Walter Benjamin’s central notions - the ”dialectical image”. Its aim is to actualize it for a philosophy dedicated to a concept of knowledge that corresponds and gives justice to the concrete and unique in experience (Erfahrung). Having as a point of departure Benjamin’s reading of Surrealism, mainly Louis Aragon and André Breton, this paper argues that Benjamin’s definition of the surrealist ”image” is to be conceived as a reference for his own concept of the dialectical image. In order to explicate this concept one has to conceive of what Benjamin finds as a direction in the surrealists’ image towards the sphere of praxis. Reading Benjamin’s sublation (Aufhebung) of the surrealist experience, praxis becomes a crucial methodological notion through which the question of the material and technological conditions of man correspond directly to the time-space complex of the knowledge of contemporary (synchronistisch) now-time (Jetztzeit) as actuality. Praxis is for Benjamin the true object of experience but also its just method in terms of construction. The ”construction” as a dialectical sublation of surrealist experience engenders a thematization of the historical dialectics not just in terms of then/now, but also of dream/awakening. In order to explain the philosophical significance for Benjamin of the notion of the dialectical image this paper will examine the correspondence between Benjamin and the thinking of early Marx. In this correspondence the construction of praxis becomes crucial in establishing the transcendental relation between man and his true property as a unique but universal being. The marxian term of appropriation (aneignen) becomes the very praxis in which man finds himself in an image-space (Bildraum), a space which, according to Benjamin, the Surrealists were the first to illuminate (erleuchten). For Benjamin this image-space is a space in time conceived both as a collective body and as a unique being that through and by revolutionary actions can be entered and inhabited and whose form is inseparable from its content. Their convergence is crucial for the definition of Benjamin’s ”image”. In that sense the notion of uniqueness becomes the criterion for how a proper historical articulation is to be understood, that is not as a realization of how the past really was, but as an appropriation in remembrance (mémoire involontaire) of a forgotten image, hidden in the world of things (Dingwelt). The dialectical image then becomes a question of historical reading, not of the past, but of the now in and of the past.

This dissertation investigates Allen Ginsberg's Beat poetry within the framework of twentieth-century literary developments, from modernism to postmodernism. It is argued that Beat writing is founded on a rejection of the detached, intellectual and formal nature of the high modernism which came to be institutionalised in the American literary practice of the 1950s. Beat poetry rejects this tradition in favour of an eclectic assemblage of ideas which may, either through direct influence or through parallel development, be linked to certain avant-garde modernist movements. All of these movements share assumptions which support and echo the personal and spiritual vision of Beat aesthetics, as well as its formal experimentation. This eclectic assemblage also involves the assimilation of the ideas of modernist movements often held to be in conflict, embodying opposing strains of modernism. This dynamic is illustrated by analysing the influence of two such opposing modernist influences on Ginsberg's Beat poetry, namely imagism and surrealism. Finally, it is argued that this double gesture of a rejection of the institutionalised form of high modernism and a simultaneous re-assessment of the avant-garde constitutes a crucial step in the development towards postmodernism. Together with the surfacing of postmodernist characteristics in Ginsberg's Beat poetry, this forms the basis for the conclusion that Ginsberg's Beat poetry may be regarded as playing a transitional and initiating role in the literary evolution from modernism to postmodernism. / Thesis (MA)--PU for CHE, 1999.

This dissertation investigates Allen Ginsberg's Beat poetry within the framework of twentieth-century literary developments, from modernism to postmodernism. It is argued that Beat writing is founded on a rejection of the detached, intellectual and formal nature of the high modernism which came to be institutionalised in the American literary practice of the 1950s. Beat poetry rejects this tradition in favour of an eclectic assemblage of ideas which may, either through direct influence or through parallel development, be linked to certain avant-garde modernist movements. All of these movements share assumptions which support and echo the personal and spiritual vision of Beat aesthetics, as well as its formal experimentation. This eclectic assemblage also involves the assimilation of the ideas of modernist movements often held to be in conflict, embodying opposing strains of modernism. This dynamic is illustrated by analysing the influence of two such opposing modernist influences on Ginsberg's Beat poetry, namely imagism and surrealism. Finally, it is argued that this double gesture of a rejection of the institutionalised form of high modernism and a simultaneous re-assessment of the avant-garde constitutes a crucial step in the development towards postmodernism. Together with the surfacing of postmodernist characteristics in Ginsberg's Beat poetry, this forms the basis for the conclusion that Ginsberg's Beat poetry may be regarded as playing a transitional and initiating role in the literary evolution from modernism to postmodernism. / Thesis (MA)--PU for CHE, 1999.

Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.

Roy Andersson’s unique surrealist style and the affect it gives rise to, situated somewhere between deep existential dread and the most absurdist humor, are intimately connected to his staging of action in stacked layers of meaning in deep focus, immobile long takes. A formal reading of his films then gives us a greater understanding of the connection between affect and film style.But the tableau which all but evacuates time in Andersson is not only a stylistic choice: this challenge to traditional structures and temporalities is the formal manifestation of his anachronistic conception of history. I argue that cinematic time is here closely tied to historical time: a view of history as layered, instantaneous and made up of incongruous juxtapositions as commentary on a failure of historicism as central to the development of a national Swedish identity marked by passivity, anti-intellectualism, and a lack of historical conscience.

This thesis examines the figurative work of Portuguese-born artist Maria Helena Vieira da Silva (1908-1992) completed between 1930 and 1946, in the cities of Paris, Lisbon and Rio de Janeiro. This thesis divests Vieira’s work of the persistent formalist framework from within which her artistic production has thus far been examined. Unlike any previous study, it explores the artist’s paintings through specific themes, subjects and forms of expression. By uncovering these narrative premises, we are able to re-assess the overall significance and contribution of Vieira’s pre-war work to her post-war oeuvre. Moreover, the interpretative framework that develops from this account re-draws Vieira’s position within the modernist canon; contrary to prevalently held views, her work ceases to be autonomous from its cultural field. The historical awareness embedded in the artist’s choice of subjects and themes captures the significance of the moment in history in which these paintings were completed. Yet, a contextual examination of Vieira's work in relation to the major streams of thought of the twentieth century reflects its elusive aesthetic nature. Each chapter examines specific themes and subjects. The first three chapters explore Vieira’s use of memory and the imagination through the expression of the child-like and the naïve, as ways to escape the mimesis of traditional painting. The introduction of these images alters the third person narrative quality of her work by bringing the artist’s perceptions to the forefront of her artistic production. The following three chapters explore Vieira’s subjective spatial quality, either through the use of linear formations of space, memory as projected on to urban landscapes, or simply by using her own image, in its numerous forms, as a spatial signifier. Moreover, in identifying Vieira’s choice of themes and forms of expression, this study observes the cross-roads of creativity that modernism inspired, disclosing the richness and plurality of sources involved in the production of painting, including literature, print-making and film.