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Journal articles on the topic 'History - Surrealism'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Parkinson, Gavin. "Surrealism and Quantum Mechanics: Dispersal and Fragmentation in Art, Life, and Physics." Science in Context 17, no. 4 (December 2004): 557–77. http://dx.doi.org/10.1017/s0269889704000262.

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ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language.

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2

Hansen, Catherine. "Surrealism Is a Thing: Rubrics and Objectivation in the Surrealist Periodical, 1924–2015." ARTMargins 5, no. 3 (October 2016): 62–81. http://dx.doi.org/10.1162/artm_a_00158.

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What links the existing international surrealist movement—a network of groups who publish their essays and collective experiments in an array of print and online periodicals—to the 20th-century Surrealism of art history textbooks is, to a large extent, its periodical publishing practices. This article pays particular attention to the periodical rubric (defined as a heading or category under which a certain kind of text or image serially appears) and contextualizes its surrealist use within a broader poetics of “objectivation.” In Surrealism, objectivation is the creation of a “thing,” which is to say a form of doing or thinking that acquires a name and locus around which a social collectivity can coalesce. The article explores this process as it becomes manifest in the various rubrics used in surrealist periodicals past and present.

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3

Greenshields, Will. "Lacan contra the Surrealists." Nottingham French Studies 58, no. 1 (March 2019): 64–81. http://dx.doi.org/10.3366/nfs.2019.0236.

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Evidence of the Surrealists' influence on the work of Jacques Lacan is not in short supply. His Ecrits and seminars of the 1940s to mid-1960s teem with direct and indirect references to the Surrealists and the case for recognising the latter's influence has been persuasively made by a number of critics. It is not our aim to again review or ague against this link. We shall instead examine several hitherto overlooked statements made by Lacan in 1970s on the subject of Surrealism in which he emphatically disavowed the existence of intellectual sympathies. Why was the Lacan of the 1970s so wary of the conjunction between psychoanalysis and Surrealism? In answering this question we shall concentrate on Lacan's objections to the principles behind two of the Surrealists' most important literary concepts: automatic writing and amour fou.

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4

Martínez Bravo, Víctor Hugo. "A Contemporary Scientific Study of André Breton’s Automatic Writing." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 161. http://dx.doi.org/10.17583/brac.2021.6341.

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This paper proposes a new scientific way to study the concept and technique of automatic writing in Surrealism. Based on the specialists of André Breton’s work and the experts of automatism, we expose here the literary, psychiatric, neurological and parapsychological influences that Breton had to create his own concept and writing technique. We suggest here that we have to add to all these influences, the spiritist one, specifically, that of Allan Kardec, whose doctrine and concepts, such as psychography, were a direct impact to the surrealist automatic writing, even when Breton wanted to dissociate his movement from Kardec’s doctrine. Automatic writing has been studied from many angles, specially from literary and art theory and criticism, but also from history of science, philosophy, neurology, psychology and psychiatry and even from occultism, hermeticism and esoterism. Nevertheless, we don’t know any contemporary scientific experiment on this surrealist practice, maybe because materialist principles that support traditional Neurosciences are unable to study automatic writing. For this reason, we propose to study automatic writing, not from regular Neuroscience principles that we disapprove here, but from a post-materialist Neuroscience viewpoint, which agrees with the values that Surrealism defended

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5

Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.

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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.

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6

Nenzén, Niklas. "The Epistemology of the “Great Invisibles”." Aries 20, no. 2 (July 1, 2020): 207–39. http://dx.doi.org/10.1163/15700593-02002002.

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Abstract The central collective myth of surrealism, Les grands transparents, was designed by André Breton in 1947 as a means for imagining a desirable society through effecting a vitalizing sense of the unknown and a “decentering of man”. As a contribution to the recent re-examination of surrealism in view of theoretical developments in the field of Western esotericism, this article argues that Breton utilizes his mythic narrative to articulate a transformative knowledge, a surreality, that in certain ways correspond to the concepts of gnosis and clairvoyance in esoteric discourse. To substantiate this, similar mythic narratives about great imperceptible entities in texts of Anthroposophy (Rudolf Steiner) and Rosicrucianism (Lectorium Rosicrucianum) are examined. A comparativist model for describing popular approaches (or mythemes) to ineffable experience is applied. An underlying “gnostic” approach of considering such experiences as incomplete and as being co-created is discerned, highlighting each actor’s endeavours to validate imaginative perception.

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7

Gorelov, Oleg. "HISTORY OF SURREALIST ANTI-MUSICALITY IN THE PRACTICES OF INNOVATIVE RUSSIAN POETRY." Ivanovo state university bulletin. Series «The Humanities», no. 3 (October 1, 2020): 20–29. http://dx.doi.org/10.46726/h.2020.3.3.

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The article provides an overview of key studies of surrealist musicality, highlights the problem of non-acceptance by surrealism of music media, focuses on a historical discussion of the semantics and reality of sound itself as a phenomenon. It also analyzes the basic principles for the implementation of the surrealist antimusicality in the newest Russian poetry. Anti-musicality is now recognized as the principle of working with sound, bypassing the composer, audial culture, based on ideas about harmony and composition. It is in this anti-musical meaning that the musical code is used in poetic practices of the late 20th century, which destroy the reference narrative and overcome the principles of the classic surrealistic collage. The innovative poetic practice conceptualizes not so much ordered repetitive fragments of a statement as a pause between them, a silence. Such a quantization of aesthetic matter returns reflection to the theoretical horizon of understanding the medium, reduced to its physical foundation in order to further overcome it

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8

Gorelov, Oleg. "The structure of revolutionary feminist surrealism in the poetic practice of Galina Rymbu." Litera, no. 5 (May 2021): 152–64. http://dx.doi.org/10.25136/2409-8698.2021.5.32797.

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The object of this research is the surrealistic code of Russian contemporary poetry. The subject of this research is the authorial version of revolutionary surrealism and the techniques of its realization in the poetry of Galina Rymbu. The article examines such aspects of the topic as female optics, feminist writing, gender issues, as well as the interaction of aesthetic and political, imagery and empirical, subjective and objective. Special attention is given to the consequences of the divergence of surrealistic development trends – aesthetic and revolutionary surrealism in the poetic practice of G. Rymbu, as well as to the increase of anti-surrealistic tendencies in her poetry. The research methodology is based on the comparative approach, within the framework of which the philological analysis of the text is conducted with the use of narratological, motivic, phenomenological, and elements of hermeneutic methods. The scientific novelty of this work consists in interpretation of the contemporary left-wing poetry and namely feminist poetics of G. Rymbu through the prism of surrealistic code. The position of women in surrealist history and theory is deconstructed by the new realizations of revolutionary surrealism, associated with the feminist project and gender problematic. Emphasis is placed on the analysis of the concepts of transformation and childhood alongside the frequency narrative instance (surrealistic type woman – child) in the poetic texts of Galina Rymbu.

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9

Wohl, Robert, and Helena Lewis. "The Politics of Surrealism." American Historical Review 95, no. 5 (December 1990): 1557. http://dx.doi.org/10.2307/2162794.

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10

Greet, Michele. "Surrealism and the Spanish Civil War." Rethinking History 13, no. 3 (September 2009): 424–28. http://dx.doi.org/10.1080/13642520903091241.

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11

Parkinson, Gavin. "Surrealism and Politics: Interpretation, Determinism and Art History." Oxford Art Journal 29, no. 2 (June 1, 2006): 306–12. http://dx.doi.org/10.1093/oxartj/kcl012.

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12

Hemus, R. "Surrealism: Crossings/Frontiers." French Studies 63, no. 2 (April 1, 2009): 228–29. http://dx.doi.org/10.1093/fs/knp041.

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13

Baxter, Jeannette. "Radical Surrealism: rereading photography and history in J.G. Ballard'sCrash." Textual Practice 22, no. 3 (September 2008): 507–28. http://dx.doi.org/10.1080/09502360802264673.

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14

Ng, Zhao F. "Mad Love: Surrealism and Soteriological Desire." Literature and Theology 34, no. 3 (July 28, 2020): 363–85. http://dx.doi.org/10.1093/litthe/fraa011.

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Abstract This article proposes that a paradox of love is situated at the heart of the Surrealist project: love is characterised as both a problem and its solution, tied to a series of antinomies (absence/presence, subject/object, chance/necessity, singularity/variance, history/eternity) and the teleological horizon of their reconciliation. The sufferings attributed to love prompt a desire to overcome them that is characterised as an orientation toward salvation. With a specific focus on André Breton’s L’Amour fou (1937), love’s madness is read in relation to a posit of faith. Breton’s appropriation of Hegel is interpreted as a precise reformulation that enables soteriological desire to find a response in (i.) a Surrealist ontology that is both immanent and monist, and (ii.) a theodicy of love.

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15

Napier, Susan, and Miryam Sas. "Fault Lines: Cultural Memory and Japanese Surrealism." Monumenta Nipponica 56, no. 4 (2001): 554. http://dx.doi.org/10.2307/3096677.

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16

Walker, Ian. "Phantom Africa : Photography between Surrealism and Ethnography." Cahiers d’études africaines 37, no. 147 (1997): 635–55. http://dx.doi.org/10.3406/cea.1997.1374.

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17

Beshara, Robert K. "Psychoanalysis, Clinic and Context: Subjectivity, History and Autobiography." Language and Psychoanalysis 8, no. 2 (August 5, 2019): 80–84. http://dx.doi.org/10.7565/10.7565/landp.v8i2.1600.

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Structure was a key signifier, and a logical quilting point, informing Jacques Lacan’s return to Freud, which amounted to his reinvention of the unconscious as structured like a language. Lacan read, and reinvigorated, Sigmund Freud’s classic texts primarily through the lenses of Ferdinand de Saussure’s structural linguistics and Claude Lévi-Strauss’s structural anthropology—not mentioning Hegelianism (via Kojève), surrealism, and mathematics as other equally important lenses. The structure of subjectivity was the central question for both Freud and Lacan. While the former understood psychic structure in terms of topography, the latter explicated it through topology. What then of the structure of Ian Parker’s recently published book?

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18

Li, Xiaofan Amy. "Surrealism at Play. By Susan Laxton." French Studies 74, no. 2 (April 1, 2020): 312–13. http://dx.doi.org/10.1093/fs/knaa012.

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19

Adamowicz, E. "Surrealism and the Art of Crime." French Studies 63, no. 4 (October 1, 2009): 506–7. http://dx.doi.org/10.1093/fs/knp157.

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20

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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21

Schulz, Cynthia. "Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema." Punk & Post-Punk 00, no. 00 (July 9, 2021): 1–20. http://dx.doi.org/10.1386/punk_00104_1.

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This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.

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22

Ferentinou, Victoria. "Surrealism, Occulture and Gender: Women Artists, Power and Occultism." Aries 13, no. 1 (January 1, 2013): 103–30. http://dx.doi.org/10.1163/15700593-01301006.

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23

Arseniou, Elizabeth. "Surrealism in Greece. An Anthology (review)." Journal of Modern Greek Studies 29, no. 1 (2011): 149–51. http://dx.doi.org/10.1353/mgs.2011.0003.

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24

Levin, Miriam R., and Robin Walz. "Pulp Surrealism: Insolent Popular Culture in Early Twentieth-Century Paris." American Historical Review 106, no. 2 (April 2001): 657. http://dx.doi.org/10.2307/2651758.

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25

Ivanova, Eva-Maria. "Carol Rama and the Pleasure of Image." Sledva : Journal for University Culture, no. 41 (August 20, 2020): 90–99. http://dx.doi.org/10.33919/sledva.20.41.13.

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Carol Rama is one of the most provocative artists of the XX and XXI centuries. Although in different periods her work has been associated with some of the significant artistic movements of the XX century, such as surrealism, art brut, arte povera, she does not join any of the leading trends and artistic groups. This makes her work a challenge to the history of contemporary art.

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26

Erber, Pedro. "Introduction to Akasegawa Genpei's “The Objet after Stalin”." ARTMargins 4, no. 3 (October 2015): 103–14. http://dx.doi.org/10.1162/artm_a_00125.

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This introduction situates Akasegawa Genpei's text “The Objet after Stalin” and the events surrounding his reproduction of the 1,000-yen note in the art-historical and political context of Japan's postwar avant-gardes. It explores Akasegawa's conception of the objet both in terms of its lineage within the history of Surrealism and its reception in Japan and of Akasegawa's original theoretical claims concerning the political potential of artistic practice.

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27

Taylor-Terlecka, Nina. "Darwinism and Surrealism: The Case of Juliusz Słowacki’s "Samuel Zborowski"." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 361–75. http://dx.doi.org/10.36770/bp.488.

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Juliusz Słowacki has been acknowledged as a precursor of the Young Poland poets and recognized as one of the “Three Bards” of Polish Romanticism. A visionary of mystical experience, his later works took a focus on Polish history, including the drama Samuel Zborowski, which has been referred to as one of the boldest visionary dramas in world literature. This paper explores the relation of Juliusz Słowacki’s drama Samuel Zborowski to Darwinism and Surrealism. As a contemporary of Darwin, this paper presents several overlapping points in time between the lives of Słowacki and Darwin, as well as Słowacki’s relations to both Darwin and his predecessors. It has been argued that Samuel Zborowski is the first surrealistic work in Polish literature. It employs varied scenic tricks that can be termed surrealistic. The textual images of the work include several cinematographic special effects, and the subjects explored in Samuel Zborowski reflect a condensed, symbolic shorthand sign of cosmic experience and historiosophic meditation. At times impressionistic, the concepts therein are formulated by analogy, allusion and synthesis, with signs and images point to infinity. Taken together, we have a dramatic exposition of fundamental Genesis philosophy, interwoven and ultimately subordinate to the perennial Polish Question in the context of Romantic Messianism. The rich philosophical sources of Samuel Zborowski reveal a wealth of influences. The end result is a strange symbiosis of Poland’s national history, Słowacki’s messianistic historiosophy, and the scientific heritage of Darwin’s predecessors.

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28

Wanner, Adrian. "Aleksei Remizov's Dreams: Surrealism Avant la Lettre ?" Russian Review 58, no. 4 (October 1999): 599–614. http://dx.doi.org/10.1111/0036-0341.00096.

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29

Furlani, Andre. "Surreal Beckett: Samuel Beckett, James Joyce, and Surrealism." Irish Studies Review 29, no. 3 (June 30, 2021): 396–99. http://dx.doi.org/10.1080/09670882.2021.1947462.

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30

Althusser, Louis. "A Young Cuban Painter Before Surrealism: Álvarez Ríos (1962)." ARTMargins 6, no. 2 (June 2017): 110–12. http://dx.doi.org/10.1162/artm_a_00180.

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31

Adamowicz, E. "Review: Surrealism Against the Current: Tracts and Declarations." French Studies 57, no. 2 (April 1, 2003): 258–59. http://dx.doi.org/10.1093/fs/57.2.258.

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32

SHERINGHAM, M. H. T. "Review. Surrealism and the Book. Hubert, Renee Riese." French Studies 45, no. 4 (October 1, 1991): 492–93. http://dx.doi.org/10.1093/fs/45.4.492.

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33

Cărăbaş, Irina. "Representing Bodies. Victor Brauner’s Hybrids, Fragments and Mechanisms." Nordlit 11, no. 1 (May 1, 2007): 229. http://dx.doi.org/10.7557/13.1762.

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The Romanian avant-garde looked for inspiration in two principal places where artists from all-over Europe gathered, confronted and discussed their ideas of a new art. While Berlin nourished the constructivist orientation of the Romanian avantgarde, Paris stimulated its interest in surrealism. Although Berlin was by far more significant as a stimulus for the synthesis of all arts and all modern movements toward which the Romanian avant-garde strove, Paris had the advantage of anemotional attachment. The French culture had been set long ago as a model for the entire Romanian modern culture and institutions. Consequently it is not surprising that poets and artists, including Victor Brauner, chosed to live and work in Paris in order to feel closer to what was considered to be the origin.Victor Brauner is discussed both in the context of the Romanian avant-garde and in the history of the French surrealism, but one cannot detect any tension between center and periphery. One motivation can be found in the myth he creates for himself. Meanwhile it is obvious that he wanted to identify himself with the French surrealism. Once settled in France he paid great attention to the theories and to the artists André Breton promoted.I will discuss the myth of the artist as well as the threads which connect Brauner to other artistic strategies bringing forth the body problem. Almost always his paintings and drawings display the ineluctable presence of a metamorphic body within no narrative construction. This preoccupation informed every stage of his career as he dedicated it the greatest energies of his artistic inventiveness. Before going into the subject, one needs to frame Brauner in a larger picture.

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34

Crunden, Robert M., and Dickran Tashjian. "A Boatload of Madmen: Surrealism and the American Avant-Garde, 1920-1950." American Historical Review 101, no. 5 (December 1996): 1522. http://dx.doi.org/10.2307/2170189.

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35

Heraeus, Stefanie. "Artists and the Dream in nineteenth-century Paris: Towards a Prehistory of Surrealism." History Workshop Journal 48, no. 1 (1999): 151–68. http://dx.doi.org/10.1093/hwj/1999.48.151.

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Kopper, John M. "Surrealism under Fire: The Prose of Boris Poplavskii." Russian Review 55, no. 2 (April 1996): 245. http://dx.doi.org/10.2307/131839.

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De La Rasilla, Carmen García. "NOTES ON DALÍ AS CATALAN CULTURAL AGENT." Catalan Review 19, no. 1 (January 1, 2005): 131–54. http://dx.doi.org/10.3828/catr.19.9.

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Was Salvador Dalí a legitimate and effective agent in the spread of Catalan culture? This article approaches the artist’s idiosyncratic, contentious and “politically incorrect” Catalanism and examines how he translated certain major Catalan cultural and philosophical components of his work into the cosmopolitan aesthetics of moderniry and surrealism.

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38

Malt, J. "Surrealism, Art and Modern Science: Relativity, Quantum Mechanics, Epistemology." French Studies 64, no. 4 (September 29, 2010): 502–3. http://dx.doi.org/10.1093/fs/knq113.

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39

Powrie, P. "Review: Obscure Objects of Desire: Surrealism, Fetishism, and Politics." French Studies 58, no. 4 (October 1, 2004): 572. http://dx.doi.org/10.1093/fs/58.4.572.

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40

BIRCHALL, I. H. "Review. Surrealism and Communism: The Early Years. Rose, Alan." French Studies 47, no. 2 (April 1, 1993): 235. http://dx.doi.org/10.1093/fs/47.2.235.

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41

Manuel, Peter. "Chocolate Surrealism: Music, Movement, Memory, and History in the Circum-Caribbean, by Njoroge M. Njoroge." New West Indian Guide 92, no. 1-2 (May 1, 2018): 203. http://dx.doi.org/10.1163/22134360-09201049.

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42

Adey, Peter. "Making the drone strange: the politics, aesthetics and surrealism of levitation." Geographica Helvetica 71, no. 4 (November 18, 2016): 319–29. http://dx.doi.org/10.5194/gh-71-319-2016.

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Abstract. In this paper I decentre the drone from a different kind of vertical figure that has its own prehistory and parallel history of being aloft and particular sets of aesthetic geographies we might productively deploy to reorder what we think about drones, and especially the human's place in or outside of them. The paper explores in what ways we might examine the drone from other points of view that are technical and political, but also theological, magical, artistic and aesthetic. The prehistoric or parallel aerial figure to be considered is the levitator, the subject or thing that floats without any attributable mechanical force, visible or physical energy source. The paper draws on notions of aesthetics and politics in order for the levitator not to be compared with the drone, but to enable its very different visual and aesthetic regimes to begin to redistribute quite a different set of drone geographies that are ambiguous, mystical, gendered and sexed.

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Barda, Jeff. "Perpetual motion studies in French poetry from surrealism to the postmodern." Modern & Contemporary France 27, no. 1 (November 2, 2018): 133–35. http://dx.doi.org/10.1080/09639489.2018.1535487.

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44

Walz, Robin. "Dada, Surrealism, and the Cinematic Effect, by R. Bruce ElderDada, Surrealism, and the Cinematic Effect, by R. Bruce Elder. Film and Media Studies Series. Waterloo, Wilfrid Laurier University Press, 2013. x, 765 pp. $85.00 US (cloth)." Canadian Journal of History 49, no. 2 (September 2014): 355–57. http://dx.doi.org/10.3138/cjh.49.2.355.

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45

Laberge, Yves. "Atlantic Crossings after Surrealism: André Breton, French Culture, Gender, and World War I." European Legacy 15, no. 1 (February 2010): 71–74. http://dx.doi.org/10.1080/10848770903516220.

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Rasmussen, M. B. "The Situationist International, Surrealism, and the Difficult Fusion of Art and Politics." Oxford Art Journal 27, no. 3 (March 1, 2004): 365–87. http://dx.doi.org/10.1093/oaj/27.3.365.

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APPELBE, V. "Review. Magnifying Mirrors: Women, Surrealism, and Partnership. Hubert, Renee Riese." French Studies 49, no. 4 (October 1, 1995): 479. http://dx.doi.org/10.1093/fs/49.4.479.

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Prendergast, Christopher. "Everyday Life: Theories and Practices from Surrealism to the Present." French Studies 60, no. 4 (January 1, 2006): 536–37. http://dx.doi.org/10.1093/fs/knl144.

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Chávez Mac Gregor, Helena. "Walter Benjamin, la crítica a la modernidad: el arte de la desconfianza." Theoría. Revista del Colegio de Filosofía, no. 29 (December 31, 2015): 25–43. http://dx.doi.org/10.22201/ffyl.16656415p.2015.29.462.

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Abstract:

This text explores Walter Benjamin’s critique to modernity from his work on the poverty of experience and on the revolutionary possibilities he found on some artist practices. This research proposes to interpret Benjamin’s approach to Baudelaire, surrealism and kitsch as a politicization of aesthetics that allows a rupture with modern subject. Here, the Copernican turn, as the author asserts, is to awake from the mythic forces of the prehistory to unchain temporality from progress. The aim of the critique of modernity is to open the critical possibilities of history. There is in Benjamin’s an art of mistrust that is at the same time emancipatory and revolutionary.

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Adams, Ellen E. "At the boundary of action and dream: Surrealism and the battle for post-Liberation France." French Cultural Studies 27, no. 4 (October 10, 2016): 319–34. http://dx.doi.org/10.1177/0957155816663360.

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