In this essay, I document and reflect on a process of creating a twenty-minute performance called That Time I Swam in a Storage Room (2021), with dreams as its source material. The essay is written in the form of a series of log-book-like entries, which offer an insight into how the work developed throughout each week during the nine-week working period. The process described in this essay, is centred around individual explorations, through reading and try-outs, as well as studio-sessions together with a four-person working group consisting of Ane Carlsen, Anton Hedevang, Jane Sievänen and Heta Asikainen. In the essay, I give an account of how the explorations are executed; by using tools and methods derived from Dadaists and Surrealist art movements, such as the cut-up technique and automatic writing. Fragments of methods from other thinkers and psychoanalysts are also applied in order to harvest dream-images and further work with the content of the dreams, such as Sigmund Freud’s dream interpretation and Carl Jung’s active imagination. The essay ends with reflections on the process of creating the performance. / <p>This master work includes both a performing and a written part. </p>

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Jag definierar mig som mode - och textildesigner och som aktivist. Som examensprojekt har jag designat en vegansk modekollektion där jag har använt mig av tyger som jag målat och färgat själv. Jag lyfter hantverket i en modekontext och vill visa styrkan i det handgjorda. Att skapa veganskt mode betyder att jag inte använder mig av djurs kroppar, hud eller päls. Jag avstår alltså helt från att använda skinn, siden, ull, päls, dun och fjädrar. Jag vill visa att det går att skapa mode utan att utnyttja och döda djur i processen. Kollektionen presenteras dels som en konceptuell konstfilm men också i form av modefoton. Jag ser uppsatsen som ett sätt att upplysa, utbilda och skapa debatt kring vilka djur vi äter och vilka vi bär på kroppen. Uppsatsen är också en del av gestaltningen. Konstfilmen är inspirerad av surrealism och är en utopi och dystopi på samma gång, med flera världar i en. Den är ett experiment i hur en kan kombinera mode, koncept, konst och djurrättsaktivism i ett och samma projekt.

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In the latter half of the twentieth-century, fewer U. S. poets translated foreign poetry than their modernist predecessors. The scope of their translation projects correspondingly narrowed. Gone, for example, were projects like Ezra Pound's reaching back to thirteenth-century Italy to see how U. S. poets could push forward. Instead, translations of European and Latin American modernism prevailed. Often, multiple translations of the same author were produced by different translators at the expense of presenting a more well-rounded vision of national literatures. Of these translations, a surprisingly large number were of poets who were either loosely or explicitly connected to surrealism as a literary movement. This dissertation locates this explosion of interest in surrealism as an attraction to the surrealist emphasis on reconciling binaries. This emphasis allows American poets a convenient frame through which to confront the difficult questions of place and nation that arise as the U. S. position in the field of world literature shifts from periphery to core. Previous researchers have traced the history of surrealism's early reception in the United States, but these studies tend to not only focus on the movement's influence on American art, but also stop shortly after surrealist expatriates returned to Europe following WWII. This dissertation extends these approaches both by bringing the conversation up to the present and by examining the key role that translation and other forms of rewriting play in mediating the relationship between surrealism and American audiences. As surrealism enters the U. S. literary system, the transformed product is often not what one might expect. U. S. rewritings of surrealist literature are primarily carried out by poets and critics whose fundamental interest in the movement lies in finding a foreign mirror for their own aesthetic or ideological preoccupations. This in turn provokes the development of a strand of surrealist-influenced writing whose aims and goals are vastly different from those of the movement's founders. / English

The Giant Dream Chamber is an underworld figure chanting Aperspectival intuition, the image arrives. Matter undresses, interiority silhouetted. / Master of Architecture

During World War II, Lee Miller was an accredited war correspondent for Vogue magazine. Miller was trained as a surrealist photographer by Man Ray, and her wartime work, both photographic and written, is indicative of a combination of journalism and surrealism. This thesis examines Lee Miller's war correspondence within the context of Vogue magazine, establishing parallels between the photographs and writing to determine how surrealism informs it stylistically and ideologically. Using surrealist techniques of juxtaposition and an unmanipulated photographic style, and the surrealist concepts of the Marvelous and Convulsive Beauty, Miller presented the war as a surreality, or a surreal reality. This study concludes by using Miller's approach to suggest a new concept of journalistic practice: surrealist journalism.

The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.

This essay describes my work as a director in a specialized orientation within psychodrama, surrealistic psychodrama. Using the language and performance techniques of theater and under the guidance of a director, psychodrama creates an improvised narrative or story. The essay describes several dramas I have directed, reflecting on my actions and choices as a director and group leader. I examine whether my working method has allowed me to be spontaneous and creative, which I believe the example of "The dangerous bear" demonstrates. The process enabled me to establish trust and receptivity so that a newly constituted group dared to investigate conflicts in symbolic ways associated with illness and death. In addition I have investigated connections between the theory and philosophy of psychodrama and that of the theater of ancient Greece and Friedrich Nietzsche, all of which share the view that Dionysian or unbounded energy is significant for change. At the same time J. L Moreno, the founder of psychodrama, has made me aware that the philosophy of ancient Greek theater and Nietzsche require boundaries and fixed forms for this amorphous energy: Apollonian energy, calling for reflection and new roles. The essay also addresses developments in the Swedish healthcare system’s approach to treatment, where the requirement that methods be predicable and proven effective weighs more heavily than developing the individual’s own ability to function personally and professionally using good judgment and an increased ethical awareness. In conclusion I consider how, on a personal level, the essay has made it possible for me to combine creativity, logical reasoning and scholarly writing, which has been a great challenge.