Relevant bibliographies by topics / British surrealism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'British surrealism'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "British surrealism"

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Pradivlianna, Liudmyla. "DREAM AND REALITY IN THE POETRY OF DAVID GASCOIGNE (LINGUISTIC ANALYSIS OF THE POEM AND THE SEVENTH DREAM IS THE DREAM OF ISIS)." Odessa Linguistic Journal, no. 12 (2018): 32–38. http://dx.doi.org/10.32837/2312-3192/12/5.

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Surrealism, the XX century literature and art movement, inspired an impressive number of scientific research regarding different aspects of the phenomenon. This paper studies surrealism as a type of artistic thinking which raised the role of the unconscious in poetry. It focuses on the core of surrealist aesthetics – an automatic image, which allowed the poets to study human irrational states, such as dreams. Focusing on the themes of dreams and dream-like narrations, surrealists created poetry which was formed by specific images. An automatic image coming directly from one’s unconscious mind was expected to reveal new knowledge about the world and people. But as the poet ’functions’ only as a conductor of the unconscious images, it is the reader who has to create meanings in this kind of poetry.The paper regards surrealism in terms of a lingvo-poetic experiment and analyzes the linguistic characteristics of the automatic texts in the early poetic collection of David Gascoyne (1916–2001). It outlines the peculiarities of the British poet’s techniques which are built upon French surrealist concepts and theories and examines phonetic, semantic and syntactic aspects of his poetry. David Gascoyne’s lyrics demonstrates the poet’s commitment to the French version of surrealism, his interest in the unconscious and dream-like narration. The streams of arbitrary visual images, deep emotionality, the artistic use of the word, semantic increments of meaning make Gascoigne’s texts open to interpretation. And though the poet actually refers visual effects (we rather see dreams), specific dream-like patterns are created not only by lexical, but also by phonetic repetitions, via intonation in which lexemes acquire a new semantic load.
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Hope, Jeanelle Kevina. "An Ode to Black British Girls." Race and European TV Histories 10, no. 20 (December 1, 2021): 34. http://dx.doi.org/10.18146/view.266.

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This article delves into Michaela Coel’s Chewing Gum, examining how the cultural text builds upon Black feminist media discourse, and intimately grapples with the nuances of Black women’s sexuality while explicitly challenging misogynoir. This work illustrates how Coel is helping develop a Black British cultural aesthetic that centers Black women’s liberation, specifically from an African immigrant perspective, by using satire, all the beauty, pain, and struggles that come with #blackgirlmagic, eccentric adornments, and ‘awkward’ ostentatious characters that at times play into racist images and tropes of Black womanhood to expose the absurdity of life in an anti-Black, sexist, and xenophobic society. In sum, this article understands Coel’s work in Chewing Gum to be Black girl surrealism – the intersection of Afro-surrealism, British dark comedy, and Black feminism.
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Golia, Maria. "Surrealism and Photography in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.

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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Voigts, Eckart, and Merle Tönnies. "Posthuman Dystopia: Animal Surrealism and Permanent Crisis in Contemporary British Theatre." Journal of Contemporary Drama in English 8, no. 2 (November 3, 2020): 295–312. http://dx.doi.org/10.1515/jcde-2020-0024.

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AbstractThe paper situates current developments in British theatre within wider trends towards dystopia and (post-)apocalyptic writing. A central focus is on the role of posthuman elements in dystopian plays which are used to create a constant and pervasive, but mostly unspecific sense of crisis. Two recent works by female playwrights – Dawn King’s Foxfinder (2011) and Stef Smith’s Human Animals (2016) – are compared and related back to Caryl Churchill’s seminal Far Away (2000) to elucidate how the nonhuman comes to be perceived as a threat and how this leads to, and/or supports, a dystopian system and its violent measures. Moreover, both Foxfinder and Human Animals manage to combine absurdist elements that border on the surreal with more or less pronounced didactic implications for the audience, although these connections are realised in different ways by the two playwrights. In this manner, post-apocalyptic dystopian theatre of the early 21st century can become revolutionary rather than regressive.
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Coe, Ada. "From Surrealism to Snoorealism: the Theatre of Snoo Wilson." New Theatre Quarterly 5, no. 17 (February 1989): 73–85. http://dx.doi.org/10.1017/s0266464x00015359.

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Snoo Wilson has remained one of the most distinctive of those playwrights who emerged from the ‘generation of 1968’ – but unlike his collaborators in the early Portable Theatre, he has never been at home on the big stages of the establishment theatres. Sadly, this has also tended to deny him his proper share of critical and, indeed, audience attention: his highly allusive yet also highly elusive style has thus remained a specialized taste, and many of his plays have been denied even the dignity of publication. Accordingly, we accompany the following article by Ada Coe, in which she examines one of the many threads which contribute to Snoo Wilson's work – his recurrent concern with the world of animals and its symbolism – with an ‘NTQ Checklist’ of Snoo Wilson's complete dramatic output compiled by NTQ Editor Simon Trussler. in collaboration with Malcolm Page of Simon Fraser University. British Columbia, and NTQ's assistant editor, Elaine Turner.
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MacClancy, Jeremy. "Brief Encounter: The Meeting, in Mass-Observation, of British Surrealism and Popular Anthropology." Journal of the Royal Anthropological Institute 1, no. 3 (September 1995): 495. http://dx.doi.org/10.2307/3034572.

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Head, Raymond. "Holst – Astrology and Modernism in ‘The Planets’." Tempo, no. 187 (December 1993): 15–24. http://dx.doi.org/10.1017/s0040298200003247.

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The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired by a widespread awareness of Theosophy, and the interest, which it encouraged, in such esoteric areas as Indian philosophy and astrology. In this article I want to look at this aspect of Modernism in relation to Gustav Hoist, and especially in The Planets (1914–16): his, and British music's, first striking testament to the Modernist outlook. The very bases of this work are Hoist's understanding of astrology, his friendships of the time, and his Theosophical upbringing.
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Jardine, Boris. "Mass-Observation, surrealist sociology, and the bathos of paperwork." History of the Human Sciences 31, no. 5 (December 2018): 52–79. http://dx.doi.org/10.1177/0952695118818990.

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British social survey movement ‘Mass-Observation’ (M-O) was founded in 1937 by a poet, a film-maker and an ornithologist. It purported to offer a new kind of sociology – one informed by surrealism and working with a ‘mass’ of Observers recording day-to-day interactions. Various commentators have debated the importance and precise identity of M-O in its first phase, especially in light of its combination of social science and surrealism. This article draws on new archival research, in particular into the ‘paperwork’ practices of Charles Madge, arguing that M-O is best understood as an attempt to define a new relationship between the survey subject and information organiser. The latter – as sociologist, planner or artist – was a distinctive interwar persona, central to ‘scientific humanism’. Bathos, as a formal strategy in modernist aesthetics, is introduced as an explanation of the failure of this particular part of the M-O project. Questions of subjectivity and data link M-O to a longer history of heterodox sociological inquiry. This analysis resolves some of the apparent paradoxes that have been prominent in studies of M-O, and draws attention to the unfulfilled promise of a vast archive of social data.
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Leggott, James. "Come to Daddy? Claiming Chris Cunningham for British Art Cinema." Journal of British Cinema and Television 13, no. 2 (April 2016): 243–61. http://dx.doi.org/10.3366/jbctv.2016.0311.

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Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism.
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Hopkins, David. "William Blake and British Surrealism: Humphrey Jennings, the Impact of Machines and the Case for Dada." Visual Culture in Britain 19, no. 3 (September 2, 2018): 305–20. http://dx.doi.org/10.1080/14714787.2018.1522968.

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Dissertations / Theses on the topic "British surrealism"

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Middleton, F. "Romanticism with teeth : surrealism in British film." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/14243/.

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This thesis explores the idea of Surrealism in relation to British films. Films often classified as Realism, Gothic, Satire or Artists’ Film and Video are revealed to contain substantial collective themes and techniques when looked at through the lens of Surrealism, while films that have not previously been associated with Surrealism are found to be significant. Detailed case studies of Neil Jordan’s The Company of Wolves (1984) and Mona Lisa (1986) reveal that these two films embody these themes and techniques and straddle the perceived polarity of realism and fantasy in British film. Central to the discussion is Viktor Schlovsky’s idea of de-familiarization whereby that which is so familiar as to go unquestioned is made shockingly unfamiliar or strange. The thesis challenges the idea of mutually exclusive genres in British cinema, particularly Realism and its perceived opposites, ideas that have long-defined British Cinema studies. Conversely, Surrealism’s ultimate aim is the convergence of reality and fantasy or the imagination, and this thesis demonstrates that convergence within British Cinema. The thesis also builds bridges between British Cinema studies and disciplines such as Literature and Art History, as well as other European Cinemas. A major finding is that Surrealism’s roots in Romanticism are often played out in British films, and subversive narrational techniques are traced from eighteenth and nineteenth century Gothic novels to Lewis Carroll and the films of Luis Buñuel and British Cinema. There is however an important difference between Romanticism and Surrealism: the first is characterised by self-expression, which can often be controversial, without concern for consequences. Surrealism on the other hand is very much concerned with consequences, as in its hands self-expression becomes a means of protest, aimed squarely at shattering oppressive socio-political circumstances.
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Beston, Maria. "A reconsideration of Humphrey Jennings, 1907-1950." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336943.

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Montanaro, Lee Ann. "Surrealism and psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff, 1935-1940." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5633.

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The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity. After their deaths, Pailthorpe and Mednikoff’s drawings and paintings were dispersed and their commentaries never read. My thesis provides biographies of Pailthorpe and Mednikoff before they met. It analyses the work they made together, discussing the impact on their thinking not only of Surrealism but also of psychoanalytic theory, notably the work of Melanie Klein. Apart from this, the thesis also reintegrates the couple into the history of Surrealism in England.
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Hamilton, P. T. "The role of Futurism, Dada and Surrealism in the construction of British Modernism 1910-1940." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.232965.

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Laterza, Lucia. "The Presence of Words in Visual Art from Surrealism to Conceptualism." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7377/.

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Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself. About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements. Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.
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caterina, caputo. "Collezionare, esporre, vendere. Strategie di mercato e diffusione dell'arte surrealista tra il 1938 e il 1950: il caso della London Gallery." Doctoral thesis, 2018. http://hdl.handle.net/2158/1128889.

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La tesi analizza le strategie di mercato e la diffusione del surrealismo relative alle attività dell'unica galleria ufficialmente surrealista in Gran Bretagna, aperta a Londra dall'artista surrealista belga E.L.T. Mesens e dall'inglese Roland Penrose, e rimasta in attività dal 1938 al 1950. Nel corso della trattazione viene posta una particolare attenzione sia al mercato dell'arte che al collezionismo surrealista del periodo tra le due guerre e dell'immediato dopo guerra, non solo in ambito britannico ma anche internazionale. Lo studio, inoltre, ambisce a ricontestualizzare quel processo di internazionalizzazione che il movimento surrealista aveva posto tra i suoi principali obiettivi a partire dai primi anni Trenta.
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Books on the topic "British surrealism"

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Art, Blond Fine, ed. British surrealism. London: Blond Fine Art, 1989.

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Remy, Michel. Surrealism in Britain. Aldershot, Hants, England: Ashgate, 1999.

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Coombs, Neil. The phantoms of surrealism. Rhos-on Sea: Dark Windows Press, 2012.

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(Gallery), Minories, Blond Fine Art Ltd, and Ferens Art Gallery, eds. A Salute to British Surrealism 1930-1950. Colchester: The Minories, 1985.

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Gavin, Delahunty, Wilson Andrew, and Middlesbrough Institute of Modern Art, eds. British surrealism & other realities: The Sherwin Collection. Middlesborough: Middlesborough Institute of Modern Art, 2008.

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Leeds (England). City Art Gallery, ed. British surrealism in context: A collectors eye : the Sherwin Collection. Leeds: Leeds Museums and Galleries, 2009.

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1959-, Lambirth Andrew, and Pallant House Gallery, eds. Eileen Agar: An eye for collage. Chichester, West Sussex: Pallant House Gallery, 2008.

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University of Hull. Middleton Hall. and Ferens Art Gallery, eds. Surrealism in Hull: British surrealist art from the Ferens Art Gallery, Hull and the University of Hull Art Collection. Hull: University of Hull, 1989.

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Julian Trevelyan: Picture language. Farnham: Lund Humphries, 2013.

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Ltd, Christie's South Kensington. The poetry of crisis: The Peter Nahum collection of British surrealist and avant garde art 1930-1951. London: Christie's, 2006.

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Book chapters on the topic "British surrealism"

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Highmore, Ben. "Itinerant Surrealism." In A Companion to British Art, 241–64. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch11.

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Gonzalez, Madelena. "Angela Carter's The Bloody Chamber: A World Transformed by Imagination and Desire - Adventures in Anarcho-Surrealism." In A Companion to the British and Irish Short Story, 507–15. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444304770.ch45.

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Connor, Steven. "British Surrealist Poetry in the 1930s." In British Poetry, 1900–50, 169–92. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-24000-5_11.

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Kennard, Luke. "‘Man and Nature In and Out of Order’: The Surrealist Prose Poetry of David Gascoyne." In British Prose Poetry, 249–64. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77863-1_15.

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AdÈs, Dawn. "Surrealism and its Legacies in Latin America." In Proceedings of the British Academy Volume 167, 2009 Lectures. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264775.003.0012.

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This chapter presents the text of a lecture on the legacies of surrealism in Latin America given at the 2009 British Academy Lecture Series. This text discusses the tensions between surrealist internationalism and local cultural nationalisms, the contested relationship between surrealism and Magic Realism, and the enduring surrealist fascination with Pre-Columbian art and architecture. It analyzes the works of Mexican artists Frida Kahlo and Gunther Gerzso and works of contemporary Brazilian artist Cildo Meireles. It contents that art from Latin America has flourished in recent years without claiming surrealism as an exclusive source.
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Baxter, Jeannette. "British Surrealism at War." In A History of the Surrealist Novel, 168–83. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781009082648.013.

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Njoroge, Njoroge. "“Headless Heroes of the Apocalypse”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0002.

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This chapter examines the rise and development of calypso in Trinidad. Trinidad is a rich site to explore issues of diaspora and historical development in the Caribbean since the island has the dubious distinction of being subject to all the major imperial powers in the region. Calypso is quintessentially urban, developed in the late 19th century through the intermingling of the largely once-rural proletariat, unemployed and under-employed ex-slaves, and formerly indentured Africans and other Creoles in the burgeoning city of Port-of-Spain. The music emerged from and was developed in the barrack yards, stick-fights, carnival tents, and city streets, and became a national music and symbol. This period is also one in which the economic penetration of the British into the island was transformed into formal political and ideological control, thus illuminating inter-imperialist rivalries and transformations, and the complications of political transition in a “plural society.”
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Moore, Daniel. "‘A transformed world’: Herbert Read, British Surrealism and the institutionalisation of modernism." In Insane Acquaintances, 121–49. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0005.

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This chapter focuses on the discourses that surrounded the 1936 International Surrealist exhibition in London and the development of a distinctly British Surrealist movement in the years leading up to the Second World War. Using the debates in the periodical press about the movement – and how it might represent a particularly English or British avant garde – this chapter articulates the connection between the movement’s leaders in Britain and the rise of institutional structures to encourage avant garde work in Britain. In particular, it sees Herbert Read as one of the key mediators of modernism in Britain, and ultimately the key driver for the institutionalisation of modernism in Britain in the years around the Second World War.
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"The Brief Moment of British Surrealism, Its Social and Divergent Paths." In Sacred Surrealism, Dissidence and International Avant-Garde Prose, 103–14. Routledge, 2016. http://dx.doi.org/10.4324/9781315607399-7.

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Hopkins, David. "11. Oz Magazine and British Counterculture: A Case Study in the Reception of Surrealism." In Radical Dreams, 190–206. Penn State University Press, 2022. http://dx.doi.org/10.1515/9780271091662-015.

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