This thesis examines the concepts of textual order and chaos, and how Relevance Theory can be used to translate texts that do not adhere to conventional textual practices. Relevance Theory operates on the basis of presumed order in communication. Applying it to disordered communicative acts provides an opportunity and vocabulary to describe how communication can break down, and the consequences this can have for translation. This breakdown of order, which I am terming a ‘chaos principle’, will be examined through the lens of a Russian-language short story called “Lunokhod”, a story in which textual order, as described by Relevance Theory, breaks down. In this thesis, I first lay out several translation challenges presented by my corpus, discuss each with reference to Relevance Theory, and examine the implications for translation through sample translation segments. This deconstruction section argues that conventional translation methods fail to properly address the challenges of my corpus. Next comes a reconstruction section, in which I develop a theoretical framework for my translation that has roots in Relevance Theory but that frees the translation from the constraints imposed by an ordered view of communication. Finally, I present the translation itself.

Cette thèse se propose de comprendre la réception de Maurice Barrès (1862-1923) des premières années de sa carrière au lendemain de la Seconde Guerre mondiale, en insistant sur différents « moments » de cette réception. Il s’agit d’abord de comprendre comment se constitue son autorité d’écrivain, dans le contexte des milieux symbolistes des années 1890. Nous étudions notamment les rapports de Barrès avec les rédacteurs de La Revue blanche – des rapports qui définissent l’identité même de la revue – jusqu’à la rupture de l’affaire Dreyfus. Nous nous intéressons ensuite à sa réception au sein de La NRF, à travers les lectures – à la fois critiques et fascinées – qu’en font trois figures majeures de la revue : André Gide, Albert Thibaudet et Jacques Rivière. De même, nous tentons de comprendre comment les surréalistes ont gardé un lien ambigu avec cet écrivain au cours des années 1920, en étudiant de plus près le procès Barrès (mai 1921) et la réception particulière que fait Louis Aragon de cette figure, dans sa phase surréaliste, mais aussi dans la suite de sa carrière. Enfin, nous terminons par étudier le cas particulier de Joseph Delteil, écrivain proche du surréalisme, mais dont la position est tiraillée entre ancrage régionaliste et avant-garde, et qui trouve dans l’exemple barrésien un modèle (provisoire) de résolution de ces contradictions. L’étude de cette réception, à travers les exemples cités, se donne ainsi pour but de comprendre comment une posture d’auteur a pu essaimer dans des milieux idéologiques et esthétiques opposés au traditionalisme, et à travers des manifestations ambiguës de fidélité littéraire. / The purpose of this Dissertation is to understand the reception of Maurice Barrès (1862-1923), going from the first years of his career to the aftermath of the Second World War, while insisting on specific “moments” of this reception. This will firstly be done by comprehending how a writer’s authority is shaped, in the context of 1890’s Symbolist milieu. Consequently, we will analyse the relationships between Barrès and the copywriters of the La Revue blanche going till the clash caused by the Dreyfus affair. We will then take interest in his reception within the La NRF, through the interpretation that made three major figures of the review: André Gide, Albert Thibaudet and Jacques Rivière – readers that were both critic to the nationalist writer as fascinated by his auctorial posture. At the same time, we will try to understand how the Surrealists have kept an ambiguous tie with this writer during the 1920’s, by closely studying Barrès’s trial (May 1921) and the particular welcome that Louis Aragon gave to this figure, during his surrealist phase, but also during the rest of his career. Finally, we will finish by analysing the particular case of Joseph Delteil, a writer close to Surrealism but whose position was torn between his regionalist grounding and an avant-garde one, and who finds through Barrès a model of resolution of these contradictions. The study of Barrès’s reception, by means of the quoted cases, is thus made in the purpose of understanding how an author’s posture was able to dispense, in the ideologist and esthetical milieu opposed to traditionalism, as well as among the ambiguous manifestations of the literary loyalty.

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Undersökningen belyser främst historieskrivningen och konsthantverkets position eller snarare dess otydliga roll under 1900-talets modernism. Med funktionalismen hamnade konsthantverk som inte uppfyllde de estetiska kraven med betoning på funktion utanför modernismens historieskrivning. Genom ett historiografiskt stilperspektiv avhandlar undersökningen konstnären, formgivaren och keramikern Wilhelm Kåges (1889–1960) vasserie Surrea (1940). Syftet är att undersöka Surrea som ett keramiskt uttryck för de modernistiska strömningarna i Sverige. Som ett led i det analyseras de samtida tolkningarna av Surrea 1940 och historieskrivningen idag. En annan viktig del i undersökningen är ett försök i att vidga och flytta perspektiv från hur till varför något görs. Därför blir frågor som rör de bakomliggande mekanismerna i skapandet av surreabetydande: -Varför skapar Kåge en vasserie som bryter med de normativa nyttoestetiken? Var skapandet av Surrea präglat av tiden eller/och fanns det individuellakonstnärliga intuitioner? Genom analyser av de texter som uppstod i samband med lanseringen av Surrea framkommer en annan och tydligare berättelse än den som hittas i den samtidahistorieskrivningen. Undersökningen problematiserar detta genom en diskurs om ”den fria formen” som är en definition om konsthantverk som faller utanför modernismens ramar. De egenskaper som definierar den ”fria formen” är samtidigt de egenskaper som det modernistiska konsthantverket Surrea besitter.

Although feet and shoes appear throughout surrealist visual art, their significance within surrealist theory has not been studied as thoroughly as other familiar themes of surrealist art, such as the eye or the hat. The purpose of this project is to recover feet and shoes from their lowly position and to uncover their meaning and function in surrealist theory, particularly the theory of Georges Bataille. Feet were implicitly important to surrealists like André Breton and Louis Aragon, whose early and central literary texts were based on their favorite pastime: flânerie or wandering the streets of Paris. Images of feet can play a role in Bataille's aim of flattening moral hierarchies, specifically the binary hierarchy of elevated/base that is figured in the horizontal orientation of the human body. Shoes can figure the loss of the self, because the peculiar intimacy of their relation with the body blurs the boundary of perceiving subject and perceived object; in this way, shoes as represented in surrealist art can flatten the epistemological hierarchy of subject/object.

In this thesis I consider photographs of the mannequin by Vogue's fashion photographer, George Hoyningen-Huene. Little scholarship has been written on Huene, as well as many other fashion photographers of the twentieth century. I examine four of Huene's works and his appropriation of the surrealist aesthetic, specifically the use of the mask and mannequin, which were directed at female spectators during the interwar atmosphere and development of the identity of the interwar modern woman. These images include Life-mask of Dolores Wilkinson (1933), Antoine with One of His Creations (1933), Scarf and Gloves by Chanel, Mannequin by Pierre Imans (1934) and Mauboussin Diamond-and-Topaz Corsage Clip, Mannequin by Pierre Imans (1934). I argue that his use of the mask and mannequin legitimates his work as he draws from the artistic milieu of nineteenth and twentieth-century high art.My survey describes photography's theoretical affinities with fashion and surrealism, the surrealist aesthetic and Huene's adoption of it in his fashion photographs of the mannequin, primitivism and Huene's adoption of high art themes and use of the mask, the interwar modern woman in a consumer society, female spectatorship and Huene's surrealist images functioning through a female gaze.

By focusing on character, humor, and loose narrative, I create a world full of quirky, pitiful creatures that blur the lines between illustration and "Fine Art". Inspired by golden age cartoons, Pop-Surrealism, and late 50's commercial art, I make work that speaks of the awkwardness of human emotion while keeping a "tongue in cheek" attitude about everyday life. This work is expressed through illustration, animation, sculpture, and a lot of sarcasm.

This text outlines and applies a methodology for deciphering problems and producing new information by analyzing the artifacts produced by medical imaging technologies - text and images - using practices gleaned from Surrealists, semiologists, and visual artists, emphasizing its own form as being the product of the apparatuses that produce it and therefore untrustworthy. Its basic assumption is that every text contains the information necessary to solve problems of all sorts, though because of the limitations of this text in both form and authorial intellect, we may only reach a starting point for a solution herein. In this regard, we are deciphering rather than solving. Further, this text illustrates primarily through narratives how digital imaging technologies mediate our relationship with our doctors, illnesses, and our bodies. It explores how the artifacts produced by medical imaging technologies create a data stream that replaces the corporal patient, shifting the physician's focus from the whole body to pieces and parts. It is a study of texts and technologies. The method evolved from a rhetorical approach to examining the medical imaging artifacts and the processes by which those artifacts come into existence, with the method and form becoming part of the story, producing a wide array of new information that transcends disciplinary constraints.

The cultural productions of Katherine Anne Porter, Anita Brenner, Tina Modotti, Maria Izquierdo, and Juanita Guccione represent a distinctive interweaving of gender and class consciousness, national identification and political resistance, as represented in their artistic work. These five women became transnational carriers of a radical realist and modernist thought, culture, and ideology that became transported through their art when their gendered and classed bodies were left otherwise silenced and boundaried. These women, their cultural productions, and the ways in which their art generates a counter discourse to the dominant and institutionalized conceptions of transculturalism, aesthetics, and re-production, are vital to understanding the co-construction of nationhood as well as the self-determined creation of the individual self. From this overarching framework, I will explore how these women negotiated political conceptions of nationhood, artistic genres such as realism and modernism, and then created their own feminist, transcultural and working-class aesthetics to counter otherwise limited conceptions of individual agency.

This thesis explores Gregory Abbott's Remlack Too, particularly in its fusion of surrealism and postmodernism. It addresses the ways in which Remlack Too highlights the artist's experience with sleep apnea, but acknowledges that this is only one level of understanding the painting. Other layers are realized through a study of surrealism and postmodernism. This research analyzes the ways in which surrealism and postmodernism work together, including through their lack of style, fluidity in definition, incorporation of semiotics, distrust in science, reliance on psychoanalysis, and especially through postmodernism's appropriating of earlier artistic movements. This thesis reviews the previously overlooked elements of postmodernism in Abbott's oeuvre. By exploring some of the binary pairs found in Remlack Too, such as life and death, sleep and wake, and logic and irrational, Abbott reveals his hopes for a more open-minded and accepting society.