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Journal articles on the topic 'Surrealism and music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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

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2

Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 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 under

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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.

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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uel

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DONALDSON, JAMES. "Reading the Musical Surreal through Poulenc's Fifth Relations." Twentieth-Century Music 17, no. 2 (2020): 127–60. http://dx.doi.org/10.1017/s147857222000002x.

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AbstractThis article develops a method of understanding concepts from the Parisian Surrealist movement in music using Poulenc's treatment of cadences and fifth relations as a case study. Although music was rejected by the group's figurehead André Breton as ‘the most profoundly confusing’ of all arts, many composers were keenly involved in Surrealist circles. Notably, Poulenc's acquaintance with major figures led him to set much of their literary work. But his engagement with their aesthetic principles extends deep into the musical form. After assessing Poulenc's flirtation with the movement's

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5

Fu, Zeya. "Art in the Dream World - Surrealism." Highlights in Art and Design 1, no. 1 (2022): 14–16. http://dx.doi.org/10.54097/hiaad.v1i1.1564.

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Surrealism advocates breaking through the concept of logic and reality, completely abandoning the logical and impressionistic image of reality and combining instinct and reality, the subconscious and dreams, to reveal the deepest world of the human psyche. A social thought and literary movement that emerged in France after the First World War and whose influence spread to all European countries. It involved all fields of literature, art, theatre and music. It absorbed anti-traditional and auto-creative ideas from Dadaism, but overcame the weaknesses of Dadaism's negation of everything and had

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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

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Farkas, András. "Prototypicality-Effect in Surrealist Paintings." Empirical Studies of the Arts 20, no. 2 (2002): 127–36. http://dx.doi.org/10.2190/ud7y-gn8p-q0ev-q13j.

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The previous experimental proofs of Martindale's preference-for-prototypes model (Martindale, 1984, 1988; Martindale, Moore, & West, 1988) did not use artworks as stimuli except the experiment of Hekkert and van Wieringen (1990a, 1990b, 1992) who applied reproductions of cubist paintings. In our experiment, the category of surrealism was taught to naive subjects by repeated presentations of a large assortment of surrealist paintings. In the main experiment, two experimental groups participated. The members of the first group learned the category of surrealism in four series, scaling 30 pai

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8

Graubard, Allan. "Surrealism Beyond Borders." Leonardo 55, no. 2 (2022): 203–4. http://dx.doi.org/10.1162/leon_r_02190.

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Baker, George. "The Underneaths of Painting, Redux: For Silke Otto-Knapp, 1970–2022." October, no. 182 (2022): 3–60. http://dx.doi.org/10.1162/octo_a_00469.

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Abstract This essay explores the untold histories opened up by Francis Picabia's painting The Spanish Night, 1922. Out of place within Dada but clearly in dialogue with the work of Marcel Duchamp and parodying conservative or neo-classical styles of painting but also undermining the avant-garde tactics of a still-nascent Surrealism, Picabia's canvas has been too simply dismissed as part of the artist's own return to figuration, a sudden retrenchment and embrace of a vehement anti-modernism. Instead, the work seethes with connection to underground tactics moving between Dada and Surrealism, and

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10

Kolisnyk, Mary Helen. "Surrealism, Surrepetition: Artaud's Doubles." October 64 (1993): 78. http://dx.doi.org/10.2307/778715.

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Hajek, Jessica C. "Chocolate Surrealism: Music, Movement, Memory, and History in the Circum-Caribbean." Ethnomusicology 68, no. 1 (2024): 164–66. http://dx.doi.org/10.5406/21567417.68.1.15.

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12

Bilgi, Irem. "Lowbrow Art Movement as a Subculture Art and its Effects on Visual Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 232–39. http://dx.doi.org/10.18844/prosoc.v4i11.2879.

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Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years,

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13

Wiseman, Mary Bittner, Georges Bataille, and Michael Richardson. "The Absence of Myth: Writings on Surrealism." Journal of Aesthetics and Art Criticism 54, no. 2 (1996): 197. http://dx.doi.org/10.2307/431097.

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Behrens, Roy R. "Leonora Carrington: Surrealism, Alchemy and Art." Leonardo 39, no. 3 (2006): 271–72. http://dx.doi.org/10.1162/leon.2006.39.3.271.

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15

Schulz, Cynthia. "Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema." Punk & Post-Punk 00, no. 00 (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 ar

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Xu, Mingxing. "The Development of the Use of Acidic Design in Poster Design." BCP Social Sciences & Humanities 22 (August 2, 2023): 111–28. http://dx.doi.org/10.54691/bcpssh.v22i.5348.

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As a precursor to acid design, the "Baby Boomers" of the post-World War II era questioned America's materialistic, conservative cultural and political norms, and psychedelic music festivals and concerts became the most prominent feature of this period, influencing to some extent the design of band posters and album covers, as well as influenced psychedelic visual design. Therefore, the characteristics of psychedelic visual design are closely related to the Art Nouveau movement, Vienna Secession, Surrealism and Pop Art, and psychedelic visual design also has implications for the development of

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Kafel, Małgorzata. "Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)." Przestrzenie Teorii, no. 29 (January 31, 2019): 127–51. http://dx.doi.org/10.14746/pt.2018.29.4.

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The article is an attempt at analysing the role of the references to jazz music in the Argentinian writer’s most famous novel, which chapters 10–18 provide an interesting example of the use of this kind of music as a means of a whole range of extraliterary meanings. In the article Hopscotch is treated both as a Cortázar’s artistic manifesto and as an example of a work which fulfils its assumptions in the most complete manner. Musical elements such as improvisation and swing shape the novel in its various aspects, from narration to structure, reflecting a surrealism-inspired need to create lite

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Demos, T. J. "Duchamp's Labyrinth: "First Papers of Surrealism", 1942." October 97 (2001): 91. http://dx.doi.org/10.2307/779088.

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Demos, T. J. "Duchamp's Labyrinth: First Papers of Surrealism, 1942." October 97 (July 2001): 91–119. http://dx.doi.org/10.1162/octo.2001.97.1.91.

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Baetens, Jan. "Making Trouble: Surrealism and the Human Sciences." Leonardo 51, no. 2 (2018): 208–9. http://dx.doi.org/10.1162/leon_r_01616.

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21

Daniel, Ladislav. "Flauto dolce in the Post-War Context of Art Synesthesia." Paedagogia Musica 5 (2023): 31–44. http://dx.doi.org/10.24132/zcu.musica.2023.05.31-44.

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The postwar situation changed the social atmosphere in the whole world. After World War I, the Dadaist movement and surrealism appeared, like after World War II, Arte povera, or Informel. Artists began to deal with new approaches to art. Interest now was taken in its various branches and among the people a desire for artistic creation increased. The period of general postwar euphoria brought new hope, a resolution to create a new society in the best sense of the word, and bring new ideas into education. In this context, Ladislav Daniel entered and introduced his concept of education. After Orf

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22

WISEMAN, MARY BITTNER. "George Battaile, The Absence of Myth: Writings on Surrealism." Journal of Aesthetics and Art Criticism 54, no. 2 (1996): 197. http://dx.doi.org/10.1111/1540_6245.jaac54.2.0197.

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23

Strom, Kirsten. "“Avant‐Garde of What?”: Surrealism Reconceived as Political Culture." Journal of Aesthetics and Art Criticism 62, no. 1 (2004): 37–49. http://dx.doi.org/10.1111/j.1540-594x.2004.00133.x.

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24

Sholl. "James Sibley Watson's The Fall of the House of Usher: Surrealism—Improvisation—Complementary Serendipities." Perspectives of New Music 58, no. 1 (2020): 23. http://dx.doi.org/10.7757/persnewmusi.58.1.0023.

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25

Sul Oh, Alicia Ye. "‘Cheerful AND Profound!’: Elizabeth Bishop’s Buster Keaton." Modernist Cultures 18, no. 2 (2023): 115–35. http://dx.doi.org/10.3366/mod.2023.0394.

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Inspired by Buster Keaton’s sporadic but crucial presence in Elizabeth Bishop’s writing, this paper examines her artistic ideal of comic surrealism through the lens of queer phenomenology. Keaton’s slapstick comedy serves as a nice cinematic parallel to Bishop’s understanding of ‘real wit’ as ‘usually stoical, unsentimental, and physically courageous’. Taking the oft-cited 1964 letter and Bishop’s ‘Keaton’ (late 1950s) as points of departure, I carry out an intermedial analysis of the Keatonesque elements in Bishop’s comic surrealist poems that blur the demarcation between a brutal reality and

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26

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 b

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27

Rickards, Guy. "London, Coliseum: Martinů's ‘Julietta’." Tempo 67, no. 264 (2013): 70–71. http://dx.doi.org/10.1017/s0040298213000107.

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If I had to sum up Martinů's opera Julietta in one word, it would be ‘strange’. Strange and wonderful, strange bordering on the weird, the otherworldly, the dream-like. This last redefinition is apt, since the opera is based on Georges Neveux's play Juliette, ou La clé des songes – the Key to Dreams, a benign nightmare where a Parisian bookseller, Michel, searches for, finds, loses and finally searches again for a girl encountered briefly three years earlier. The action opens with his return and discovery that she lives in a town where no one has much depth of memory beyond the previous ten mi

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Byers, Mark. "Hugh Sykes Davies's Petron: Surrealism, Politics, and Hiking." Modernist Cultures 18, no. 4 (2023): 273–91. http://dx.doi.org/10.3366/mod.2023.0409.

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Published a year before the landmark London International Surrealist Exhibition of 1936, Hugh Sykes Davies's prose poem Petron continues to resist both aesthetic and political categorisation. This essay clarifies Petron's contribution to the Surrealist movement in England by reading its densely allusive text as one which limns Surrealist technique and Marxist theory within a specifically English rural setting. Identifying the wanderings of its hero, Petron, as a Surrealist riff on the popular communist hikes or ‘Red Rambles’ of the 1930s, the essay shows how Petron combines radical politics an

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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 (2018): 203. http://dx.doi.org/10.1163/22134360-09201049.

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30

Frfulanović, Dragana, Aleksandra Jevtović, and Milena Savić. "Modern art and stage costume: The case of Dragilev's Ballets Russes." Tekstilna industrija 70, no. 2 (2022): 40–50. http://dx.doi.org/10.5937/tekstind2202040f.

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Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse,

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GAGLIARDO, VINICIUS CRANEK. "Aspectos vanguardistas na música de John Cage * Vanguard aspects in John Cage’s music." História e Cultura 2, no. 1 (2013): 120. http://dx.doi.org/10.18223/hiscult.v2i1.942.

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<p><strong>Resumo:</strong> Este artigo tem por objetivo estabelecer algumas relações entre as vanguardas artísticas europeias, como o surrealismo e o dadaísmo, e as peças musicais de John Cage. De modo mais específico, procurarei apresentar algumas das características destes movimentos de vanguarda que ainda persistiram na obra do compositor norte-americano. Para isso, a partir do livro Teoria da Vanguarda, de Peter Bürger, e do estudo de Jorge de Almeida, Crítica dialética em Theodor Adorno, retomarei os ideais do Expressionismo – momento auge do esteticismo –, refletindo s

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Krasovec, Aleksandra. "Samira Kentrić’s Graphic Novel “Balkanalia: Growing up in the Age of Transition” and His Hybrid Poetics." Stephanos Peer reviewed multilanguage scientific journal 47, no. 3 (2021): 7–31. http://dx.doi.org/10.24249/2309-9917-2021-47-3-7-31.

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The article analyzes the autobiographical graphic novel of the Slovenian artist, illustrator and performer Samira Kentrić (b. 1976) “Balkanalia: growing up in the age of transition” (2015), in particular the hybrid nature of the genre of this work and its poetics. In this example, the genre incorporates elements of autobiographical comics strip, comics book about the war (in Bosnia), family album, graphic poetry, political illustration, philosophical parable, etc. Visual and textual narratives are designed to reflect the transculturality, the hybridity of the space of the former Yugoslavia, th

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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 (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 ‘fe

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Wiener, Oswald. "Some Remarks on Konrad Bayer: Dark Romanticism and Surrealism in Postwar Vienna." October 170 (October 2019): 61–68. http://dx.doi.org/10.1162/octo_a_00370.

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In “Some Remarks on Konrad Bayer” Oswald Wiener reflects on his deceased friend and collaborator. Arguing that Bayer's personal presence was more influential than his literary work, Wiener focuses on experiments Bayer conducted in his milieu, which aimed at predicting and manipulating the behavior of others. If the other proved hard enough to predict, according to Wiener, such experiments could complicate the participants' representations of the situation to such an extent that they would induce ecstatic states. Wiener connects these experiments to epistemological questions and relates them to

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Đurov, Milica. "The valet's Broom: Visual concepts." Kultura, no. 182-183 (2024): 27–47. https://doi.org/10.5937/kultura2483027d.

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The Valet's Broom", by composer Miloje Milojević and librettist Marko Ristić, is considered to be the first surrealist ballet created in Serbia, and it testifies of an early avant-garde achievements of the Serbian art scene. The premiere of this "ballet-grotesque in one act" took place on February 16, 1923, as part of the ball The Tho usand and Second Night at the Kasina Hotel in Belgrade - choreographed by Klavdija Isachenko and Jelena Polyakova, in set and costume designs by Alexander Deroko. Although this production did not leave behind enough material traces of visual aspects of the play,

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Laxton, Susan. "Psicofotografía: Grete Stern and the Administration of the Unconscious." October 172 (May 2020): 35–67. http://dx.doi.org/10.1162/octo_a_00392.

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Between 1948 and 1951, photographer Grete Stern constructed a heavily manipulated taxonomy of dreams, realized in the form of 149 photomontages for the popular Argentinian fotonovela magazine Idilio. The series, now commonly referred to as Los Sueños, counterintuitively represents Stern's rejection of Surrealism and demonstrates how classifying systems in the postwar context were deployed to popularize psychoanalysis, normalize authoritative didactic imagery, and collapse formerly distinct economies of desire. The ideology of consumption underpinning the project both affirms and exceeds the hi

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Lyons, Kieran. "The Challenge of Surrealism: The Correspondence of Theodor W. Adorno and Elisabeth Lenk." Leonardo 50, no. 2 (2017): 211–13. http://dx.doi.org/10.1162/leon_r_01389.

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Rapoport, Sonya, and Barbara Lee Williams. "Women, Surrealism and Self-Representation San Francisco Museum of Modern Art, 9 January–20 April 1999." Leonardo 32, no. 4 (1999): 333–35. http://dx.doi.org/10.1162/leon.1999.32.4.333c.

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Russell, P. A., and D. A. George. "Relationships between Aesthetic Response Scales Applied to Paintings." Empirical Studies of the Arts 8, no. 1 (1990): 15–30. http://dx.doi.org/10.2190/au1r-6uxe-t14r-04wq.

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Relationships among seven aesthetic response scales were studied by requiring subjects to rank fifteen paintings on each scale, using a between-subjects design. Three of the five evaluative scales used, likeability, pleasingness, and preferability were strongly positively intercorrelated. Using these scales to examine painting content (landscape, portrait, still-life) and style (Impressionism, Surrealism, etc.) effects, however, revealed that the scales did not always yield similar results. Although content effects were similar on all three scales, likeability and preferability were relatively

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Calhoon, Kenneth. "Of Non-vital Interest: Art, Mimicry, and the Phenomenon of Life." Konturen 6 (September 16, 2014): 82. http://dx.doi.org/10.5399/uo/konturen.7.0.3503.

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My aim in this essay is to explore certain parallels—concerning anthropomorphism—in the work of Roger Caillois, Hans Jonas, Theodor Adorno and Sigmund Freud. Both Caillois (a thinker closely connected to French Surrealism and an important source for Jacques Lacan) and Jonas (philosopher and one-time student of Heidegger) take issue with the ban on anthropomorphism—an anathema that is the legacy of Western science. Part of the thesis in Jonas’ major work, The Phenomenon of Life, is that freedom is not exclusively a human quality but a potential within the simplest organic forms, even within ino

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Costello, Leo. "Portraiture and the Ethics of Alterity: Giacometti vis-à-vis Levinas." October 151 (January 2015): 62–77. http://dx.doi.org/10.1162/octo_a_00208.

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One of the primary critical investigations around the work of Alberto Giacometti has been his experience of a crisis in representation: the anguished realization of his inability to re-create his perceptions. Indeed, while this crisis came to the fore at various times in his life, it forms the hinge on which his career is taken to turn, because it marked his rejection of the principles of Surrealism. As the oft-repeated story goes, when André Breton heard that Giacometti had returned to study from live models, he scoffed, saying, “Everyone knows what a head looks like.” Breton was right to sen

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Graubard, Allan. "Surrealism and Cinema by Michael Richardson. Berg Publishers, New York, NY, U.S.A., 2006. 240 pp. Trade, paper. ISBN: 1-84520-225-2; 1-84520-226-0." Leonardo 40, no. 3 (2007): 303–4. http://dx.doi.org/10.1162/leon.2007.40.3.303.

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Roberto, Isabela Cortada. "Existe música surrealista? Intersecções, cruzamentos, desvios." Cadernos de Literatura Comparada, no. 49 (2023): 61–73. http://dx.doi.org/10.21747/21832242/litcomp49a3.

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It took around to two or three years, between 1923 and 1924, for the movement to be fully nominated and characterized by André Breton in his Surrealist Manifest. Many were its artistic ramifications that were being manifested until then, with a special focus on the fine arts and cinema. Nevertheless, whether there is a surrealist music or not there seems to be no critical consensus, which keeps this field of study an ongoing and provisional research matter with provisional results, always open to revision. Being aware of the respective scarce scientific production, we will resort to some autho

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Noh, Shihun. "The Surreality of Soundscape in Luis Buñuel’s Film: Focusing on L'âge d'or." Korean Society of Culture and Convergence 45, no. 10 (2023): 443–53. http://dx.doi.org/10.33645/cnc.2023.10.45.10.443.

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The purpose of this study is to examine the relationship between soundscapes and surrealist aesthetics in Buñuel's films, focusing on L'âge d'or. As a result of the examination, it can be seen that in this film music is used to express motifs of the film and paradoxically attack elements that hinder the realization of desire, and dialogue and other sound are used to reinforce the realness of visual images or to oppose the music. In addition, as a result of analyzing the soundscape composition of this film, we were able to identify the characteristics that most of the sounds in this film are ev

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Service, Tom. "Aldeburgh Festival, 2003." Tempo 57, no. 226 (2003): 67–68. http://dx.doi.org/10.1017/s0040298203230369.

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Mauricio Kagel's Eine Brise, a ‘fleeting action’ for 111 cyclists, was one of the signature events of the Aldeburgh Festival this year, a bizarre procession along the beach front, creating an evanescent, mobile performance of honking, whistling, and singing. It was a brilliantly absurdist gesture – and typical Kagel, you might think. But Eine Brise, composed in 1996, was the exception in Aldeburgh's focus on Kagel's recent music. Their mini-retrospective of his music of the last couple of decades revealed how the surrealist master of the 1960s and 70s has developed into a more complex figure,

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Coombes, Timothy F. "The Nursery as Circus: Dancing the Childlike to Fauré's Dolly Suite, 1913." Journal of the Royal Musical Association 142, no. 2 (2017): 277–325. http://dx.doi.org/10.1080/02690403.2017.1361174.

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ABSTRACTIn 1913, at the Théâtre des Arts in Paris, a controversial but highly successful ballet choreographed a circus-style pantomime to the music of Fauré's Dolly Suite. With its apparently incongruent relation of dance to music, the ballet displayed, as one reviewer put it, ‘criticisms in action’. This article investigates how we might conceive the production as an act of musical and cultural criticism, by examining its close relation with contexts such as early comic film, music-hall entertainment, the children's literature market, medical and anthropological theories, and surrealist thoug

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Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.

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Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first t

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Goehr, L. "Juliette fahrt nach Mahagonny or a Critical Reading of Surrealist Opera." Opera Quarterly 21, no. 4 (2005): 647–74. http://dx.doi.org/10.1093/oq/kbi092.

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Hollier, Denis, and Rosalind Krauss. "Surrealist Precipitates: Shadows Don't Cast Shadows." October 69 (1994): 110. http://dx.doi.org/10.2307/778991.

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Marisi, Rossella. "Music Calling for Social Transformation: Some Reflections on Poulenc’s Surrealist Work Le Bal Masqué." Review of Artistic Education 17, no. 1 (2019): 32–39. http://dx.doi.org/10.2478/rae-2019-0003.

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Abstract Grounding on Marx’s and Freud’s theories, Surrealists sought the liberation of the individual and the transformation of society. With this aim they brought together usual objects in unusual combinations, surprising the audience and giving them the opportunity to perceive reality with different eyes. This study reflects on a character of Jacob’s and Poulenc’s Le bal masqué, Mademoiselle Malvina, presented as epitome of the bourgeoisie and described in both text and music as duplicitous and superficial.

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