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Relevant bibliographies by topics / Surrealism

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Academic literature on the topic 'Surrealism'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 March 2025

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Journal articles on the topic "Surrealism"

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Ortiz, María Mercedes. "Alquímicamente surrealista: la pintura de Remedios Varo." La Manzana de la Discordia 6, no. 2 (March 18, 2016): 85. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v6i2.1501.

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Resumen: En este ensayo, se exploran las posibilidadesde la escritura automática como un ejerciciode creatividad basado los planteamientos delsurrealismo, en especial de André Breton. La autoraexplica sus experiencias con este tipo de escritura,en las cuales comenzó contemplando cuadros de lapintora surrealista Remedios Varo, a modo de inspiración,indagando también sobre las relacionesentre la mujer y este tipo de creación.Palabras clave: surrealismo, pintura, RemediosVaro, mujerAlchemically Surrealist: Remedios Varo’s paintingAbstract: This essay explores the possibilities ofautomatic writing as an exercise in creativity basedon the tenets of surrealism, especially those ofAndré Breton. The author explains her experienceswith this type of writing, in which she began bycontemplating paintings by the surrealist painter,Remedios Varo, by way of inspiration, inquiring aswell as the relations between woman and this typeof creation.Key Words: surrealism, painting, RemediosVaro, woman

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Ungureanu, Delia. "Island Politics." Journal of World Literature 3, no. 3 (August 10, 2018): 311–33. http://dx.doi.org/10.1163/24056480-00303006.

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Abstract In 1929, the father of surrealism André Breton and his friends published a “world map in the time of the surrealists,” which placed the Pacific in the center with a disappearing Europe and a nonexistent USA, and showing oversized islands from New Guinea to Ireland. During the 1930s, surrealist ideas and practices were creatively transformed beyond recognition by marginal writers who had emigrated to and/or excommunicated surrealists living in Paris. Looking beyond Casanova’s and Moretti’s centers and (semi)peripheries that organize the world system, I argue that by thinking instead of cultural centers like Paris as inhabited simultaneously both by central but also by (semi)peripheral writers we may get new and more nuanced insights into the circulation and transformation of ideas beyond the traditional story of surrealism told by literary histories. Using the example of the French translation of Joyce’s “Anna Livia Plurabelle,” I uncover the hidden story of the transformation of Joyce’s text into a surrealist cognate from the peripheries of surrealism itself.

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Konstantinou, Christina. "100 Years of Surrealist Imagination: Releasing the Bird from the Cage." International Journal of Surrealism 2, no. 1 (September 2024): 73–87. http://dx.doi.org/10.1353/ijs.2024.a943390.

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Abstract: This essay examines Surrealism’s relation to the precious concept of freedom by studying the surrealist conception of the imagination, in particular André Breton’s thoughts on imagination and poetry in the "Manifesto of Surrealism" (1924). In order to appreciate Breton’s influence across Europe, the essay shifts its focus onto Czech Surrealism, emphasizing the contradictions and similarities between Bretonian and Czech surrealist thinking through the inclusion of sources and excerpts by members of the Czechoslovak surrealist group—especially by Vratislav Effenberger—as well as fragments from a personal interview with Surrealist Jan Švankmajer. The essay considers the relationship between critical thinking and imagination; according to the Czechoslovak surrealist group, imagination enables individuals to be aware of the deteriorating state of their critical faculties which have been impacted by “formalized civilization.” Based on the doctrine of dialectics, Effenberger views imagination as a negating force that becomes a “furnace” in which conscious and unconscious components are molded together, potentially expressed in the form of concrete irrationality, which can be considered as an expression of surrealist negation of negation . Essentially, Surrealism and the surrealist conception of imagination allow individuals to realize—apart from the failure of their critical thinking—the deteriorating state of all of civilization. In this way, Surrealism and imagination become associated within the concept of freedom since they are the means of gaining a superior awareness of reality.

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Winks, Christopher. "Snakecharmers and Nascent Oxygen: André Breton and the American Marvelous." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (November 10, 2003): 85–98. http://dx.doi.org/10.22201/ffyl.poligrafias.2003.4.1630.

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As André Breton and his fellow surrealists never tired of affirming, the transformative surrealizing impulse long antedated the surrealist moment (hence the movement's interest in developing and reconfiguring a force-field of multiple traditions or anti-canons). To some degree, surrealism's truth lay outside the movement proper, and a fortiori outside individual creative works, which while they could approximate certain dreams, obsessions, or lived moments, were but intimations of a greater revelation. Surrealism can best be described in terms of its constant search, articulated from Breton's 1924 Manifeste du surréalisme onward, for the marvelous, that gold of time that dwelled, no longer in the philosopher's stone, but in the unexpected turning points and encounters of daily life.

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Kuçuku, Bora. "Surrealism, an Exalting Freedom: The Sexual and Erotic Dimension." European Journal of Social Science Education and Research 9, no. 1 (January 1, 2022): 33. http://dx.doi.org/10.26417/120ixy78.

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This article aims at exploring the sexual factor, which sensitized and even scandalized the contemporaries of Surrealism. The tendency for a different kind of freedom put the Surrealist movement at the forefront of the changes that happened in the twentieth century. The Surrealists became aware that sexuality was becoming a source of huge scandals and debates and they thought of using it as an “attack” weapon. In the Second Surrealist Manifesto, Breton calls upon every Surrealist “to level at the breed of ‘moral duties’ the long-range weapon of sexual cynicism ».

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Lee, Jinhee, and Jaejoon Lee. "The Logic of the Uncanny: On the Role of Uncanny and Representation in Hal Foster's Analysis of Surrealism." Sookmyung Research Institute of Humanities 14 (June 30, 2023): 149–74. http://dx.doi.org/10.37123/th.2023.14.149.

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Hal Foster shares his basic stance with Rosalind Krauss in the analysis of Surrealism. He focus is internal criticism of Surrealists; the common writing style and Automatism agreed by Surrealist Manifesto are quite inappropriate for the expression of paintings. And he accommodates uncanny logic to solve this problem. Uncanny is an ontological panic associated with the accidental revealing of something fundamentally oppressed. The purpose of this discussion is to reappraise about the logic of the uncanny in Foster's Surrealism to supplement for the problem of representation that he could not analysis. This is representation and representational images were a fundamental and important expression of Surrealism that sought to realize the interpretation of dreams. For this discussion, we suggest the internal contradiction of Surrealism along Foster and Krauss. Furthermore, we reveal that the fundamental part of this internal contradictions is matter of representation, which is ontologically a problem of self-identity and a problem of narcissistic double and likeness as presented in Freud's analysis of the uncanny. Finally, it uses this as a basis for a reinterpretation of the uncanny logic employed in Foster's analysis of surrealism.

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Miller, C. F. B. "Surrealism's Homophobia." October 173 (September 2020): 207–29. http://dx.doi.org/10.1162/octo_a_00408.

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The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André Breton, who convened the meetings and edited the transcript, repeatedly denounced male homosexuality. The problematics of these repudiations are the topics of this article, the intention of which is to map the historical conditions of Breton's heteronormativity and to outline the latter's function in his theory of Surrealism. To this end, the essay displaces the psychoanalytic emphasis customary in Surrealism's reception in order to locate the movement in the historical discourse of sexuality. In the French culture wars of the 1920s, Surrealism mobilized a sexual negativity against the mainstream. Yet in certain key respects, Breton's thought preserved a heterosexist logic of conjugality. Ultimately, a historical reading of Surrealism's homophobia indicates the family ties between dialectical idealism and heteronormativity.

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Leveque, James. "Surrealism and the ‘Fissured Subject’: Breton, Éluard, and Desnos." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 11 (December 12, 2010): 1–21. http://dx.doi.org/10.2218/forum.11.655.

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Although known as one of the most doctrinaire movements of the historical avant-garde – mostly due to Breton’s intense theorising and dominating personality – individual Surrealists approached the problem of the divided and decentred subject from substantially different angles. Surrealism began as a poetic movement around the circle of Breton, Soupault, Louis Aragon, Paul Éluard, Benjamin Péret, and Robert Desnos. By the end of the 1930s most had broken with Breton, if not the foundational tenets of the movement itself. This study examines collections of Surrealist poetry from the mid-1930s from Breton, Éluard, and Desnos as examples of the variant understandings of the subject within Surrealism. Breton published The Air of the Water (1934) in the midst of his most intense articulation of Surrealist theory in Communicating Vessels (1932) and Mad Love (1937); Éluard published Public Rose (1934), Easy (1935), and The Covered Forehead (1936) just a few years before his break with Breton in 1938; The Neck-less (1934) was published by Desnos a half-decade after being ‘excommunicated’ from the Surrealist group by Breton, though he never ceased to consider himself a Surrealist. In each case, the poet’s understanding of the ‘fissured subject’ and his vision of the potential for that subject is both Surrealist and entirely individual.

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Sousa, Rui. "Mário Cesariny’s Perspective on Portuguese and International Surrealism: Dialogue and Distinction." Caietele Echinox 47 (December 1, 2024): 223–45. https://doi.org/10.24193/cechinox.2024.47.14.

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The present paper aims to offer an overview on the surrealist movement’s reception in Portugal, as well as the perspectives adopted by Portuguese surrealists from a peripheral position in the international panorama. In addition to approaching certain critical aspects characteristic to Surrealism in Portugal, the present paper also traces the path that leads from the marginalization and obscurity of the main authors and episodes of Portuguese Surrealism outside of national borders to the increasing international recognition of the Portuguese groups and main authors. This shift is largely attributed to the historiographical and promotional work carried out by Mário Cesariny de Vasconcelos, a poet and artist who will serve as the primary reference in my overview.

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Bracken, Patrick. "Psychiatry and Surrealism." Bulletin of the Royal College of Psychiatrists 10, no. 4 (April 1986): 80–81. http://dx.doi.org/10.1192/pb.10.4.80.

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A recent edition of the Bulletin contained a letter which was originally published in La Révolution Surréaliste 60 years ago. The letter was probably written by André Breton and was basically an attack on psychiatry as then practised in France and in particular on the process of involuntary admission. The letter appeared in the Bulletin under the title ‘An Historical Vignette: Surrealism and Anti-Psychiatry’. While there can be little doubt that the surrealists were antagonistic to psychiatry I would like to argue that a great deal of their work is of potential interest to psychiatrists. The surrealist movement was opposed to any form of rationalism. It was opposed to anything which could possibly limit the imagination and this was the source of its conflict with psychiatry. But surrealist art and literature was essentially an exploration of the bizarre, the irrational and the unconscious and these are subjects which are, of necessity, of importance to the psychiatrist and the psychotherapist.

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Dissertations / Theses on the topic "Surrealism"

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Parkinson, Gavin. "Physique du Surrealisme : Surrealism, Modern Physics, and Epistemology." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249524.

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Stent, Sabina Daniela. "Women Surrealists : sexuality, fetish, femininity and female Surrealism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3718/.

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The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.

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Morrison, John J. "Pop surrealism." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265089.

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The objective of this creative project was to see if Pop Surrealism appeals to a larger cross-section of culture and could be integrated into the fine arts. This study involved creating a series of drawings utilizing a wide range of optical and thematic devices to expand my visual vocabulary. The evidence suggests that the visual knowledge of our culture has expanded through mass media. In the 1800's, Stendhal Syndrome affected a cross-section of America. The illness was incurred by overexposure of visual stimuli resulting with the victim vomiting and passing out. The people's adaptation has lessened the syndrome to almost nonexistence. Pop Surrealism is the amalgamation of Pop Art, Surrealism, and cartoons. The drawings were an exploration of visual and technical applications. The study also included a search for the history and acceptance of techniques and media.
Department of Art

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Donadio, Glenda Verônica. "Elementos poéticos e surrealistas em L'Écume des jours (1947), de Boris Vian /." Araraquara, 2019. http://hdl.handle.net/11449/182350.

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Orientador: Andressa Cristina de Oliveira
Banca: Adalberto Luís Vicente
Banca: Norma Wimmer
Resumo: Esta dissertação tem como objetivo o estudo da obra de Boris Vian, intitulada L'Écume des jours (1947), por meio da análise de seu caráter poético e do trabalho com a linguagem realizado pelo autor. Busca também demonstrar a herança surrealista presente na narrativa e visa apontar como esta ainda se filia ao surrealismo, mesmo tendo sido produzida anos após o auge do movimento. O embasamento teórico da pesquisa abrange uma contextualização teórica e histórica do período - pós-guerra, 1945 - no qual a obra foi escrita. Na sequência, são apresentados os principais elementos, características e ideais do movimento surrealista, segundo as obras, sobretudo, de Lima (1995) e Chénieux-Gendron (1992). Estes aspectos são apontados e analisados de acordo com trechos da obra, buscando verificar como esta se filia ao surrealismo. Por fim, são apresentados os conceitos que elucidam o gênero híbrido da narrativa poética, consoante às ideias de Tadié (1994), e outros textos referentes à poesia, os quais permitem o reconhecimento dos recursos poéticos empregados ao longo da narrativa. Estes apontamentos são demonstrados posteriormente na obra em questão, uma vez que o uso de figuras de linguagem, ritmo e musicalidade ao longo da narrativa é essencial para Vian.
Abstract: This dissertation aims the study of the Boris Vian work entitled L'Écume des jours (1947) through the analysis of its poetic character and of the work with the language done by the author. It also seeks to demonstrate the surrealistic heritage present in the narrative and aims to point out how this one is still affiliated with surrealism, despite having been produced after the boom of the movement. The theoretical basis of the research spans a historical and theoretical contextualization of the period - post-war, 1945 - when the work was written. The main elements, characteristics and ideals of the surrealist movement, mainly according to the works of Lima (1995) and Chénieux-Gendron (1992) are presented in the sequence. These aspects are pointed out and analized accordingly with extracts of the work seeking to verify how this one affiliates itself with surrealism. Finally, the concepts which elucidate the hybrid genre of the poetic narrative, consonant with Tadié (1994) ideas, and other texts regarding poetry, which permit the recognition of the poetic resources employed along the narrative. These notes are demonstrated later in the work in question, once the use of figures of speech, rhythm and musicality throughout the narrative is essential for Vian.
Mestre

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Papalas, Mary Laura. "Greek surrealism : from its roots in French surrealism to the poetry of Calas, Engonopoulos, and Embeirikos /." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1135196688.

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Spittle, David Graham Parnel. "John Ashbery and surrealism." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3264.

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This thesis will demonstrate that an engagement with Surrealism alongside John Ashbery’s poetry can provide a mutually beneficial discussion through which to further understand both. Through its phenomenological attention, Ashbery’s poetry configures the everyday experience of his reality in a way that responds to, and invites, a surrealist perspective. The first chapter explores Joseph Cornell, collecting and the ‘found object’, with an emphasis on Ashbery’s first collection, Some Trees (1956). The second Chapter examines dreams and dreaming throughout Ashbery’s first four collections, ending with an analysis of Three Poems (1972). Merleau-Ponty is used to demonstrate the oneiric implications of Ashbery’s poetics of phenomenology as a basis for Surrealism, whereby a perception of reality becomes comparable to a dream. My third chapter presents Ashbery’s book-length poem Flow Chart (1991) alongside the Canadian filmmaker, Guy Maddin. The concept of noise, alongside the pioneering presence of Surrealism in early radio, is used to understand treatments of memory that connect Maddin’s films to Ashbery’s interruptive poetics and lead both to be understood through Georges Bataille’s notion of ‘The Labyrinth’. The fourth chapter discusses the relationship between visual perspective and a surrealist imagining of childhood. This chapter returns to the enduring importance of ‘The Skaters’ in order to understand the poem’s relation to collage, ‘play’ and metaphor as key examples of how Ashbery’s poetry comes to realise Breton’s surrealist dictum: ‘always for the first time’.

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Stone-Richards, M. "The conception of embodiment in French Surrealist art : with reference also to Czech Surrealism 1919-1939." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361395.

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Baker, Simon Richard. "Surrealism and the French Revolution." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252062.

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Santos, Mateus de Araujo. "Quantum realism and quantum surrealism." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/BUOS-8XVM55.

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In this thesis we explore the question: whats strange about quantum mechanics? This exploration is divided in two parts: in the first, we prove that there is in fact something strange about quantum mechanics, by showing that it is not possible to conciliate quantum theory with various different definitions of what should be a normal theory, that is, a theory that respects our classical intuition. In the second part, our objective is to describe precisely which parts of quantum mechanics are non-classical. For that, we define a classical theory as a noncontextual ontological theory, and the non-classical parts of quantum mechanics as being the probability distributions that a ontological noncontextual theory cannot reproduce. Exploring this formalism, we find a new family of inequalities that characterize non-classicality.
Nessa dissertação exploramos a questão: o que há de estranho em mecânica quântica? Essa exploração se divide em duas partes: na primeira, provamos que de fato há algo estranho em mecânica quântica, mostrando que não é possível conciliar o formalismo quântico com várias definições diferentes do que seria uma teoria normal, isto é, que respeite nossa intuição clássica sobre o mundo. Na segunda parte, nosso objetivo é descrever precisamente quais partes da mecânica quântica são não-clássicas. Para isso, definimos uma teoria clássica como uma teoria ontológica não-contextual, e as partes nãoclássicas da mecânica quântica como sendo as distribuições de probabilidade que uma teoria ontológica não-contextual não consegue reproduzir. Explorando esse formalismo, encontramos uma nova família de desigualdades que caracterizam essa não-classicalidade.

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Signori, Lisa F. "The feminization of surrealism : the road to surrealism silence in selected works of Marguerite Duras /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901282.

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Books on the topic "Surrealism"

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Silvano, Levy, ed. Surrealism: Surrealist visuality. Keele: Keele University Press, 1996.

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Silvano, Levy, ed. Surrealism: Surrealist visuality. Edinburgh: Keele University Press, 1997.

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Silvano, Levy, ed. Surrealism: Surrealist visuality. New York: New York University Press, 1997.

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Magrini, César. Vito Campanella: Surrealismo & metafísica = Surrealism & metaphysics. Buenos Aires, Argentina: Ediciones Institucionales, 2005.

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Levy, Julien. Surrealism. New York: Da Capo Press, 1995.

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Bradley, Fiona. Surrealism. Millbank, London: Tate Gallery Pub., 1997.

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Marcovitz, Hal. Surrealism. Detroit: Lucent Books, 2008.

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Claybourne, Anna. Surrealism. Oxford: Heinemann Library, 2009.

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Claybourne, Anna. Surrealism. Chicago, Il: Heinemann Library, 2008.

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Eileen, Agar, and Crawshaw Gallery, eds. Surrealism. London: Crawshaw Gallery, 1988.

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Book chapters on the topic "Surrealism"

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Wade, Nicholas. "Surrealism." In Art and Illusionists, 103–17. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25229-2_6.

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Lipinski, Lisa. "Surrealism." In The Palgrave Encyclopedia of the Possible, 1–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-98390-5_150-1.

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Lipinski, Lisa. "Surrealism." In The Palgrave Encyclopedia of the Possible, 1608–17. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-90913-0_150.

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Cernuschi, Claude. "Surrealism." In Jackson Pollock, 43–102. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-4.

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Caws, Mary Ann. "Surrealism." In A Companion to Modernist Literature and Culture, 189–97. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch20.

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Cernuschi, Claude. "Surrealism." In Race, Anthropology, and Politics in the Work of Wifredo Lam, 39–73. New York: Routledge, 2019. | Series: Routledge research in art and race: Routledge, 2019. http://dx.doi.org/10.4324/9781351187879-3.

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Nicholson, Melanie. "Surrealism Is Dead, ¡Viva el Surrealismo!" In Surrealism in Latin American Literature, 15–29. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137317612_2.

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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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Wilkes, James. "Seaside Surrealism." In A Fractured Landscape of Modernity, 75–112. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137287083_4.

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Sinclair, Vanessa. "Surrealism/Acéphale." In Scansion in Psychoanalysis and Art, 115–32. Abingdon, Oxon; New York, NY: Routledge, 2021. |Series: Art, creativity, and psychoanalysis: Routledge, 2020. http://dx.doi.org/10.4324/9781003099147-11.

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Conference papers on the topic "Surrealism"

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Rojo de Castro, Luis. "METÁFORAS OBSESIVAS: marcas del surrealismo en la construcción del discurso de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.591.

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Resumen: El reciente interés académico en el Movimiento surrealista constituye una revisión de largo alcance, habiéndose ampliado el campo de análisis con evidente ambición multidisciplinar. Su estratégica relación con otras disciplinas, la impostación de sus derivas urbanas como prácticas sociales y etnográficas, la profundización en las técnicas de manipulación de la fotografía y la escritura, la naturalización de la fragmentación asociada al montaje y, finalmente, la revisión de la imprecisa naturaleza del objeto surrealista en sus distintas versiones (objet trouvé, objet à réaction poétique, objet-type, ready-made, etc.) y su función seminal en lo contemporáneo, facilitan un escenario de investigación complejo y abierto. Un escenario en el que la obra de Le Corbusier se dibuja en una nueva perspectiva. Le Corbusier adoptó técnicas afines al surrealismo, como la fotografía, el montaje y el caligrama, con el objeto de ampliar el significado de los paradigmas asociados a la racionalidad productiva y tecnológica, en particular los que construyen el espacio doméstico. El uso tales medios discursivos y de divulgación asociados con el surrealismo facilitó la contaminación de su discurso con las estrategias desestabilizadoras y conflictivas características del Movimiento. Abstract: The recent academic interest in the surrealist movement is a far-reaching review, having widened the scope of analysis with evident multidisciplinary ambition. Its strategic relationship with other disciplines, the imposture of their urban drifts as social and ethnographic practices, the deepening on the manipulation techniques of photography and writing, the naturalization of fragmentation associated with montage and, finally, the review of the imprecise nature of the Surrealist object in its different versions (objet trouvé, objet à réaction poétique, objet-type, ready-made, etc.) and its seminal role in the contemporary facilitate an open and complex research scenario. A scenario within which the work of Le Corbusier is perceived in a new perspective. Le Corbusier adopted techniques related to surrealism, such as photography, montage, automatism and the calligram, in order to expand as well as undermine the meaning of canonical paradigms associated to productive and technological rationality, in particular those related to the domestic milieu. The use of such display of discursive instruments facilitated the contamination of his editorial and architectural work with the destabilizing and conflicting strategies that characterize the Movement. Palabras Clave: Surrealismo, metáforas obsesivas, montaje, automatismo, analogía, arbitrariedad. Keywords: Surrealism, obsessive metaphors, montage, automatism, analogy, arbitrariness. DOI: http://dx.doi.org/10.4995/LC2015.2015.591

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Xiong, Lu, and Kang Zhang. "Generation of Miro's Surrealism." In VINCI '16: The 9th International Symposium on Visual Information Communication and Interaction. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2968220.2968232.

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Lukebanova, I. A., and O. A. Zimina. "SURREALISM IN DESIGN AND ART." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.8.

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Liang, Jianian, and Danlei Zou. "Aesthetic Embodiment of Surrealism in Modern Design." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.34.

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Raskar, Ramesh, Adrian Ilie, and Jingyi Yu. "Image fusion for context enhancement and video surrealism." In the 3rd international symposium. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/987657.987671.

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Raskar, Ramesh, Adrian Ilie, and Jingyi Yu. "Image fusion for context enhancement and video surrealism." In ACM SIGGRAPH 2005 Courses. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1198555.1198564.

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Xie, Kaili, and Xiaoyu Huang. "The Decomposed Border— the Integrated Application of Surrealism in Independent Animation." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.040.

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Anderson, Ross James. "All of Paris, Darkly: Le Corbusier’s Beistegui Apartment, 1929-1931." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.928.

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Abstract: This paper, All of Paris, Darkly, presents a focused study of Le Corbusier’s enigmatic Beistegui Apartment (1929- 1931) on the Champs-Elysée in Paris, with particular reference to the curious camera obscura periscope that was housed in a small lozenge-shaped pavilion on its rooftop. There are manifold reasons for the charisma of the apartment; from the flamboyant eccentricities of the client and his exchanges with the architect, to the exceptional location of apartment in the centre of Paris, to the apparent repudiation of some of Le Corbusier’s more strident proclamations on architecture and the city, to the historical conditions that have for all time occluded a definitive scholarly reading of the architectural production and subsequent inhabitation of the apartment. Grounded in an understanding of the primal visual phenomenon of the camera obscura, the paper advances an interpretation of the meaning of the periscope apparatus amidst the battery of unusual contrivances that animated the surrealist penthouse apartment. It further seeks to contribute to a greater understanding of some aspects of Le Corbusier’s thinking on architecture and the city. Keywords: Le Corbusier; Charles de Beistegui; camera obscura; uncanny; Surrealism. DOI: http://dx.doi.org/10.4995/LC2015.2015.928

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Aji, Arif Dwi Kurnia, and Kasiyan. "Social Criticism in Muhklis Lugis’ Surrealism on His Work on Siri Culture." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.052.

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Erez, Noam. "Reply to Hiley and Callaghan on the Reality/Surrealism of the Bohm Trajectories." In QUANTUM THEORY: Reconsideration of Foundations - 3. AIP, 2006. http://dx.doi.org/10.1063/1.2158727.

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Reports on the topic "Surrealism"

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Sparks, Diane Carol, and Tyler James Klene. Surrealism with Floating Origami Rose: A Cocktail Ensemble. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-245.

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Bruegel, Martin, and David Galenson. Measuring Masters and Masterpieces: French Rankings of French Painters and Paintings from Realism to Surrealism. Cambridge, MA: National Bureau of Economic Research, May 2001. http://dx.doi.org/10.3386/w8266.

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.

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Hopper, Darrel G. Reality and Surreality of 3-D Displays: Holodeck and Beyond. Fort Belvoir, VA: Defense Technical Information Center, January 2000. http://dx.doi.org/10.21236/ada430163.

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Graphics from Latin America and the Caribbean: January 18th - March 9th, 2002. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005918.

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43 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by 40 artists from the Americas were presented at the Riverside Art Museum, Riverside, California. On loan from the IDB Cultural Center; the artistic holdings serve to promote understanding of the cultural heritage of its member countries. Included in the exhibit are graphics by important 20th century Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros; the surrealist Roberto Sebastián Matta; Carlos Mérida and others.

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