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Journal articles on the topic 'Surrealisme (Literatura)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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 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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Busch, Kathrin. "Subversion des Bildes." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 54. Heft 1 54, no. 1 (2009): 13–29. http://dx.doi.org/10.28937/1000106146.

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Die weitreichende Bedeutung des Surrealismus für die sogenannte postmoderne Philosophie ist unbestritten. Vermittelt über Autoren wie Bataille oder Artaud konnte die im Surrealismus formulierte Skepsis gegenüber der Vernunft und die Revisionen der Subjekttheorie philosophisch wirksam werden. Daß darüber hinaus auch das Denken des Bildes wesentliche Impulse aus dem Surrealismus erhalten hat, blieb demgegenüber weitestgehend unbeachtet. Der Aufsatz will die Relevanz der surrealistischen Bildauffassung für die französische Philosophie aufweisen und zeigen, daß es vor allem der pathische oder obsessive Charakter des Bildes ist, den die surrealistische Malerei herausstellt und der in der Diskussion um die Krise der bildlichen Repräsentation einflußreich wird. It is widely acknowledged that surrealism has had a profound impact on postmodern philosophy. The skepticism that surrealism brought to bear on rationality and its revisionist influence on theories of the subject have been received in philosophical literature through writings such as those of Bataille or Artaud. However, current discourse has largely failed to recognize the wider influence surrealism has exerted on the theoretical study of the image. This essay aims to show the relevance of a surrealistic understanding of the image for contemporary French philosophy, and to argue that it is most of all the substantial contribution surrealist painting has made in pointing up the obsessive character of the image that is in fact a major influence on the debate concerning the crisis of and in pictorial representation.

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Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.

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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.

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

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Surrealism, the XX century literature and art movement, inspired an impressive number of scientific research regarding different aspects of the phenomenon. This paper studies surrealism as a type of artistic thinking which raised the role of the unconscious in poetry. It focuses on the core of surrealist aesthetics – an automatic image, which allowed the poets to study human irrational states, such as dreams. Focusing on the themes of dreams and dream-like narrations, surrealists created poetry which was formed by specific images. An automatic image coming directly from one’s unconscious mind was expected to reveal new knowledge about the world and people. But as the poet ’functions’ only as a conductor of the unconscious images, it is the reader who has to create meanings in this kind of poetry.The paper regards surrealism in terms of a lingvo-poetic experiment and analyzes the linguistic characteristics of the automatic texts in the early poetic collection of David Gascoyne (1916–2001). It outlines the peculiarities of the British poet’s techniques which are built upon French surrealist concepts and theories and examines phonetic, semantic and syntactic aspects of his poetry. David Gascoyne’s lyrics demonstrates the poet’s commitment to the French version of surrealism, his interest in the unconscious and dream-like narration. The streams of arbitrary visual images, deep emotionality, the artistic use of the word, semantic increments of meaning make Gascoigne’s texts open to interpretation. And though the poet actually refers visual effects (we rather see dreams), specific dream-like patterns are created not only by lexical, but also by phonetic repetitions, via intonation in which lexemes acquire a new semantic load.

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5

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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6

Huo, Dan, and Fan Yang. "Application of Western Surrealistic in Design of Landscape Architecture." Applied Mechanics and Materials 226-228 (November 2012): 2394–97. http://dx.doi.org/10.4028/www.scientific.net/amm.226-228.2394.

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Surrealism was the twentieth century’s longest lasting art movement in the arts. It explored the mysterious dream world of the unconscious mind. Surrealist works depict a familiar yet alien world of dreamlike serenity and nightmarish fantasy, and their legacy pervades much of contemporary art, literature, film and popular culture. As a representation of irrational aesthetics in the modern art trends, it is worthwhile to study the influence and construction of Surrealism in modern landscape architecture. This paper explores the modern landscape form under the influence of Surrealism Art by analyzing and investigating the intrinsic relationship between Surrealist Art and the modern landscape architecture. Besides that, this paper described the connection between surreal spirit and Chinese landscape architecture design term metaphor of “presence”.

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7

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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Ponge, Robert. "Notas sobre a recepção e presença do surrealismo no Brasil nos anos 1920-1950." Alea : Estudos Neolatinos 6, no. 1 (June 2004): 53–65. http://dx.doi.org/10.1590/s1517-106x2004000100005.

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Após brevemente situar o surgimento do surrealismo nos anos 1919-1924 e apontar alguns elementos dos processos de transferências culturais entre a Europa e as Américas, bem como alguns aspectos da recepção do surrealismo na América Latina, o artigo se debruça sobre a chegada do surrealismo no Brasil, na segunda metade dos anos 1920 e sua expressão na revista Estética e na Antropofagia. A seguir, procura localizar a presença do surrealismo no Brasil dos anos 1930 e 1940, relacionando-a com a conjuntura cultural vigente no período Vargas. Enfim, destaca, nos anos 1950 e 1960, a segunda presença de Benjamin Péret no Brasil, a exposição Maria Martins no MAM-RJ, a atuação de Sérgio Lima e o início do Grupo Surrealista de São Paulo-Rio de Janeiro.

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9

Garcia, Erika Natalia Molina. "Tonnerre et bourdonnement. Pour une littérature musicale : le cas du surréalisme." Cahiers ERTA, no. 26 (2021): 59–83. http://dx.doi.org/10.4467/23538953ce.21.027.13999.

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Thunder and whir. For a musical literature: The case of surrealism By exploring Deleuze’s theory of the creative act, I suggest in the first part of this article that all art forms can achieve a generalized musicality. This musicality denotes a region of perception that goes beyond ordinary senses, with which we can come into contact either by creating or by witnessing art. In the second part, I illustrate the possibility that this doctrine opens for a musical literature, i.e. a literature able to achieve the generalized musicality, with some fragments of surrealist literature. I conclude with the idea that the doctrine at hand could constitute an evolution and a radicalization of surrealist aesthetics.

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10

Baetens, Jan, and Michael Kasper. "The Birth of Belgian Surrealism: Excerpts from Correspondance (1924-25)." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 452–67. http://dx.doi.org/10.1632/pmla.2013.128.2.452.

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Correspondance was a belgian surrealist magazine, from the earliest years of the movement, that can be read as a Challenge to the notions of surrealism promoted in André Breton's Manifesto of Surrealism of 1924. It was a self-published periodical comprising twenty-two one-page tracts, written and distributed over seven months in 1924 and 1925 by three francophone Belgian writers, Paul Nougé, Camille Goemans, and Marcel Lecomte. The most important of these was undoubtedly the one who published least: Nougé, the intellectual leader of the Brussels surrealist group. In addition to scattered publications of startling originality throughout the 1920s and 1930s, he was at that time also a key promoter of René Magritte's art; at weekly meetings of the group (whose members had day jobs and could only gather on Sunday), Magritte's latest paintings were discussed, and Nougé, mostly, proposed their enigmatic titles.

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11

DONALDSON, JAMES. "Reading the Musical Surreal through Poulenc's Fifth Relations." Twentieth-Century Music 17, no. 2 (March 9, 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 ideas, I ally William Caplin's codification of the cadence to the Surrealist objet trouvé. Combining Robert Hatten's musical ‘markedness’ and literary theorist Willard Bohn's model of Surrealism in art and literature, I explore how Poulenc's music engages with the Surrealist treatment of objects, automatism, and Apollinaire's ‘fantôme véritable’.

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12

Harendika, Melania Shinta. "Surrealism in Budi Darma’s Laki – Laki Pemanggul Goni (The Man Carrying the Sack): A Comparative Study." Language Circle: Journal of Language and Literature 12, no. 2 (April 24, 2018): 165–72. http://dx.doi.org/10.15294/lc.v12i2.14175.

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Laki – laki Pemanggul Goni is one of Budi Darma‘s short stories. It was firstly published in Kompas, 26 February 2012, and was then translated by Andy Fuller in 2015. Lontar Foundation published the translated version along with the other translated Budi Darma‘s short stories in a book entitled Conversations. Budi Darma is famous of his surrealist work. It is reflected also in Laki – laki Pemanggul Goni. Therefore, this study was intended to find whether its‘ English version conveyed exactly the same characteristics of surrealism as it was in the original version. Bassnett‘s translation as comparative studies, Popovics‘ types of translation equivalence, and Breton‘s surrealism in literature were implemented as the theoretical framework. This study found that both versions did not convey precisely the identical characteristics of surrealism. The Indonesian version‘s surrealism is stronger than it is in the English version. It might occur because of the cultural gap between the author‘s and the translator‘s.

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13

Mannu, Roberto. "Les anthologies surréalistes : l’élaboration collective d’un genre littéraire hybride." Quêtes littéraires, no. 6 (December 30, 2016): 74–80. http://dx.doi.org/10.31743/ql.214.

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Published for the first time in 1940 the André Breton’s Anthology of black humor inaugurates the great season of surrealist anthologies, which will last until late 60s. The use of the traditional form of the modern anthology by the Surrealists, does not involve into a complete acceptance of its rules, already codified since the end of the 19th century, but rather a deformation of its textual structure and of its objectives, producing a literary genre with particular characteristics. The surrealist anthology, such as those realized by André Breton, Paul Éluard, Louis Aragon and Benjamin Péret, represent an hybrid literary object with structural elements in common with the dictionary, the glossary, the anthology and the catalogue. The surrealist literary collections represent both a different approach to the history of literature and an expression of surrealist poetics.

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14

Nazario, Luiz. "Brocados e ouropéis, gemas e cristais." O Eixo e a Roda: Revista de Literatura Brasileira 14 (June 30, 2007): 29–48. http://dx.doi.org/10.17851/2358-9787.14.0.29-48.

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A crítica literária nega ou minimiza a existência de uma literatura surrealista brasileira, embora a literatura modernista seja uma releitura das vanguardas européias. Por seu lado, para ressaltar o próprio nacionalismo, os modernistas renegaram suas fontes européias em prol dofolclore nativo. Por isso, em seu internacionalismo militante, nossos surrealistas desprezaram os modernistas (nossos primeiros surrealistas) e não reivindicaram ativamente (diferentemente do que fizeram ossurrealistas europeus) a tradição revolucionária do simbolismo. Para recuperar o modernismo para o surrealismo, deve-se redimensioná-lo na tradição das vanguardas européias, operação que se completa com aredescoberta de nosso simbolismo como sua fonte mais pura.

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Hawas, May. "From the Hashish in Breton to the Hashish in Golo." Journal of World Literature 2, no. 3 (2017): 320–38. http://dx.doi.org/10.1163/24056480-00203002.

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In the past decade a flurry of interest has appeared in the Surrealist Art and Liberty Group working in 1930s Egypt. Discussions of the circulation of Arabic literature have usually highlighted the important position of translation as cultural mediator. Thinking of modern Arabic literature as world literature obliges us to consider, however, that (colonial) languages such as French and English are in some ways creolized within, or inherent to, modern Arabic literature. The Surrealist practice of fluidity, that is, mixing artistic genres like literature and art, pushes interesting questions about the role of translation and bilingualism in Arabic world literature (or world literature written by Arabophone writers), and the need for language itself in world culture. For which national cultural sphere do we claim the work of the Egyptian Surrealists, and what kind of analytical mediator do we use to connect these works to others when translation is not available?

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MARTÍN FUMERO, JOSÉ MANUEL. "Hacia una estética de síntesis como principio generacional en la Literatura de Canarias. El caso de Campanario de la primavera, de Emeterio Gutiérrez Albelo." Ogigia. Revista Electrónica de Estudios Hispánicos, no. 27 (November 4, 2020): 187–211. http://dx.doi.org/10.24197/ogigia.27.2020.187-211.

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Emeterio Gutiérrez Albelo (1904-1969) es una de las figuras más importantes de la literatura canaria prebélica, destacando su protagonismo en lo que Domingo Pérez Minik denominó Facción española surrealista de Tenerife (1975). El camino hacia el surrealismo lo inició con Campanario de la primavera (1930), obra en la que muestra el paso del tardomodernismo a una estética de síntesis que buscaba encontrar una voz propia dentro de unas coordenadas de modernidad. Este artículo profundiza en las claves interpretativas que, tomando como ejemplo este poemario, permiten trazar un camino común y unas coordenadas compartidas para toda una generación de jóvenes creadores.

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Hunkeler, Thomas. "Beckett Face Au Surréalisme." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 35–51. http://dx.doi.org/10.1163/18757405-017001003.

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This contribution analyses the relationship between Beckett's early writings in the 1930s and surrealist aesthetics. It takes as a starting point Eugene Jolas' literary journal where Beckett published his first texts, and studies its connections, both personal and aesthetical, with surrealism. It then focuses on Beckett's translations of Breton, Eluard and Crevel for the special issue of (September 1932), for Nancy Cunard's anthology (1934) and for an anthology of Eluard's poetry, (1936), shedding new light on the importance of Eluard's poetry for the development of Beckett' s own poetics between 1932 and 1938.

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Kenny, Eva. "‘fountains frozen o'er’: Samuel Beckett's Atavistic Translations." Journal of Beckett Studies 28, no. 2 (September 2019): 146–62. http://dx.doi.org/10.3366/jobs.2019.0265.

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Increasing importance has been placed on Samuel Beckett's work as a translator in recent years. Here I look at his translation of the French surrealists into English in the Surrealist Issue of the avant-garde journal This Quarter, and develop the argument made in Pascale Sardin and Karine Germoni's excellent 2011 study, ‘Scarcely Disfigured: Beckett's Surrealist Translations’, from which I take many cues. In what follows, I propose a theory of Beckett's translation: that literary atavism, models of arrested development and recursive strategies were central to the Irish writer's work, and that he developed these in his translations, in the ways that he preserved the past in his surreal translations, learning to become what André Breton called ‘the silent receptacle of many echoes’.

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Petruželková, Alena. "A Personal Library Screened by the State Security." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (September 1, 2016): 93–98. http://dx.doi.org/10.1515/amnpsc-2017-0024.

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Abstract In November 1951, books, manuscripts and other archivalia were confiscated during house searches in the flats of Karel Teige and Eva Ebertová. The confiscated set of books was considered to be lost until 1994, when it was handed over from the State Archives to the Library of the Museum of Czech Literature. The article presents a fragment of Teige’s library in terms of thematic areas and identified provenances (dedications, glosses and additions, stamps, signatures). Another part of the article analyses Teige’s paper ‘Ten Years of Surrealism’, which was presented at a discussion evening of the Left Front and published in the collection Surrealismus v diskusi [Surrealism in Discussion] (1934), and Teige’s corrections and additions found in a copy from the confiscated collection. In the text, Teige systematically removed morphological and syntactic archaisms as well as filler words. In addition, Teige made numerous formulation changes and additions in many places of the text, especially those dealing with the relation of psychoanalysis and surrealism. In these passages and also in a part of his article on the Kharkiv Resolution, Teige refers to A. Breton, he quotes from the First and Second Manifestos of Surrealism, and he maps the Breton / Aragon conflict within the French group. Because of the frequency of the changes in the text, the article covers only selected changes always representing a certain type. Therefore, it is not a textological article, but it turns the attention of Teigean researchers to a previously unknown version of one of Karel Teige’s key texts of from the 1930s.

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Kusumawardhani, Mega Iranti, and Muhammad Cahya Mulya Daulay. "Studi Literatur Surealisme di Indonesia." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (June 21, 2021): 78–88. http://dx.doi.org/10.31937/ultimart.v14i1.2021.

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This article aims to trace back the Surrealism style in Indonesia through literature. The literature studies are done in two phases, aiming at two different goals. In the first phase, we accessed literature collections about Surrealism through Modern Art frameworks and context. In the second phase, we used two online directories that index open access journals; DOAJ (Directory of Open Access Journals) and Garuda (Garba Rujukan Digital). The result is a list of analyses on how the Surrealism discussion appears through the Indonesian language journal articles. Through the list of findings, we also try to determine our upcoming research. We will try to expand the surrealism discussion through moving image mediums in Indonesia. Keywords: Surrealism; Indonesia; literature studies; painting; moving image

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Farkas, András. "Prototypicality-Effect in Surrealist Paintings." Empirical Studies of the Arts 20, no. 2 (July 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 paintings selected out of 40 so that the 10 most prototypical paintings were left. These 10 paintings were entered in the fifth series, and they were more preferred than the other 30. A similar procedure was followed in the case of the other experimental group, but here the least prototypical elements were left and entered at the end of the experiment. These 10 paintings were less preferred than the other 30 in the first series. This finding proved that the phenomenon we found is a prototypicality-effect and not a novelty-effect.

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Andrade, Lucas Toledo de. "Mitologia moderna e iluminação profana: um breve passeio pelos caminhos do surrealismo." Em Tese 22, no. 2 (April 7, 2017): 266. http://dx.doi.org/10.17851/1982-0739.22.2.266-281.

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Esse artigo pretende investigar as relações entre mito e literatura trazidas pelo movimento surrealista, bem como o conceito de iluminação profana, oriundo dos estudos de Walter Benjamin a respeito dessa vanguarda. Para isso pretende-se abordar algumas criações elaboradas por importantes nomes do surrealismo, como é o caso de André Breton e Louis Aragon, por meio de uma leitura que tratará da possibilidade da criação de uma mitologia moderna e da relação disso com a ideia de iluminação profana, em obras como Nadja e Camponês de Paris, ambas de 1928, além disso, busca-se tratar do modo como o uso dos mitos, ressignificados na modernidade, por meio da aproximação entre arte e vida, permitiria um novo olhar do homem para o seu tempo e para o mundo que o rodeava, o que poderia, em última instância, revelar caminhos que levariam a transformação e ao reencantamento da realidade.

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Conley, Katharine, and Martine Antle. "Cultures du surrealisme." SubStance 30, no. 3 (2001): 128. http://dx.doi.org/10.2307/3685766.

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Britton, Celia. "How to be Primitive: Tropiques, Surrealism and Ethnography." Paragraph 32, no. 2 (July 2009): 168–81. http://dx.doi.org/10.3366/e0264833409000510.

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The review Tropiques, founded in Martinique by Aimé Césaire and colleagues in 1941, was heavily influenced by French surrealism, both for its emphasis on political liberation and its investment in primitivism and the revalorization of non-European cultures. But Tropiques's attitude to primitivism was far more ambivalent and contradictory than is usually assumed. While the editors and contributors sometimes do indeed claim to have, as Martinican intellectuals, a close identificatory connection to primitivist sensibility (and are encouraged in this by French surrealists), elsewhere their attitude to such supposed examples of primitivism as African-American poetry and Caribbean folklore is extremely distanced and rather patronizing. Moreover, their claims to an ‘authentic’ relation to primitive culture, especially where this is defined as African, are complicated by the fact that they have to rely on European ethnographic sources in order to make these claims; and the writing in Tropiques shows them grappling with this contradiction.

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Kornhauser, Jakub. "Gherasim Luca’s short prose: The objects of prey (first chapter)." Romanica Cracoviensia 20, no. 3 (2020): 167–74. http://dx.doi.org/10.4467/20843917rc.20.016.12938.

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The paper continues “object-oriented” analysis of the most inspiring experiments in the Romanian Surrealism’s repertoire, notably in the short stories by Gherasim Luca, one of the movement’s leading representatives. His two books of poetic prose, published originally in the 1940s, could be interpreted as the emblematic example of Surrealist revolutionary tendencies in the field of new materialism. Such texts as The Kleptobject Sleeps or The Rubber Coffee become the laboratory of the object itself, gaining a new, unlimited identity in the platform of Surreality, where the human-like subject loses its status. Objects possess quasi-occult powers to initiate and control human’s desires. Therefore, Breton’s “revolution of the object” could concretize as literary praxis showing the way how contemporary “materialist turn” in anthropology deals with avant-garde theories.

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Mihkelev, Anneli. "Emigration in Estonian Literature: “Self” and “Other” in the Context of European Literature." Interlitteraria 22, no. 2 (January 16, 2018): 341. http://dx.doi.org/10.12697/il.2017.22.2.12.

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The experience of emigration generated a new paradigm in Estonian culture and literature. After World War II Sweden became a new homeland for many people. Estonian culture and literature suddenly became divided into two parts. The political terror imposed restrictions on literature in homeland and the national ideology limited literature in the initial years of exile. Both were closed communities and were monolingual systems in a cultural sense because these systems avoided dialogue and the influence of other signs. It was a traumatic experience for nation and culture where the totalitarian political power and trauma have allied. The normal cultural communication was destroyed. But the most important thing at this time was memory, not just memory but entangled memory, which emigrants carried with them to the new homeland and which influenced people in Estonia. The act of remembering becomes crucial in the exile cultures.Estonian literature in exile and in the homeland presents the fundamental images of opening or closing, escaping or staying, and of flight or fight. Surrealism as well as fantasy and science fiction as the literary styles reveal what is hidden in the unconscious of a poet or a person or even in the collective memory of a nation. Surrealism has played a certain role in our literature, but it has been different from French surrealism, it is a uniquely Estonian surrealism. At the same time Estonia was already a new homeland for many refugees from Russia who had escaped during the Revolution of 1917 and World War I. August Gailit and Oskar Luts wrote about that issue in different literary works. Luts entangled different memories in his novel Tagahoovis (In the Backyard, 1933): the memories of Estonians and the memories of Russian emigrants. He also entangled historical narratives about World War I, the Russian revolution and the young Estonian state in the 1920s. Luts wrote about common people who interpret historical narratives. The novel was also published in exile in 1969 in Toronto.

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27

Jahan, Sultana. "Reading Jibanananda Das’s “Banalata Sen” from a surrealistic perspective." IIUC Studies 13 (July 29, 2018): 83–92. http://dx.doi.org/10.3329/iiucs.v13i0.37648.

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Surrealism expresses the working of the subconscious, as manifested in dreams and uncontrolled by reason and characterized by the incongruous and startling arrangement and presentation of subject matter. The theme of Jibanananda's poem ‗Banalata Sen' is straightforward. However, because of the style of presentation, it appeared to be subtle, mysterious and bizarre even to the native readers and critics of his time. The poet's wizardry of image and metaphor makes an ordinary Banalata Sen beyond touch as she transcends to a higher space, surpassing all worldly affairs. The poet presents her beauty in entirely different imagery infrequent in our literature before his utterance. Throughout the poem, he creates a sense of wonder and dreamlike progression from the flow of time expressed by ancient civilizations and illusory natural beauty to the contemplation of the end of earthly affairs. With a view to establishing Jibanananda's ‗Banalata Sen' as a surrealist poem, this article aims at exploring the images and metaphors that has unfolded his subliminal working of the mind.IIUC Studies Vol.13 December 2016: 83-92

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Hill, Leslie. "The Disappearance of Literature: Blanchot, Surrealism, Futurity." Nottingham French Studies 50, no. 3 (September 2011): 117–27. http://dx.doi.org/10.3366/nfs.2011-3.009.

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29

Mathews, Timothy, Jacqueline Chénleux-Gendron, and Jacqueline Chenleux-Gendron. "Surrealism and Painting." Poetics Today 17, no. 2 (1996): 274. http://dx.doi.org/10.2307/1773362.

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30

Brown, John L., and J. H. Matthews. "Languages of Surrealism." World Literature Today 61, no. 1 (1987): 167. http://dx.doi.org/10.2307/40142712.

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31

Knapp, Bettina L. "Languages of Surrealism." Symposium: A Quarterly Journal in Modern Literatures 40, no. 3 (September 1986): 235–36. http://dx.doi.org/10.1080/00397709.1986.10733601.

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SILVESTRI, Filippo. "SUL MEDESIMO E L’ALTRO. TRA FOLLIA E LETTERATURA NELLA PROSPETTIVA SEMIOTICA DI STUDI DI MICHEL FOUCAULT." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 213. http://dx.doi.org/10.5944/signa.vol30.2021.29306.

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Riassunto: Il rapporto tra il Medesimo e l’Altro rappresenta un leit motiv lungo l’intero arco della ricerca di Foucault. Negli anni Sessanta egli ha certamente tematizzato il problema, affrontandolo da due prospettive. L’altro è tutta la storia della follia dalla fine del Medioevo fino al limite dei primi studi di Freud. L’altro è la scrittura letteraria di Sade, Hölderlin, Nietzsche, Artaud, Bataille, Roussell, Blanchot, Klossowski, tutti insieme convocati su uno scenario filosofico, che si muove ad elastico tra teorie surrealiste della scrittura e dell’opera d’arte e prime forme di uno strutturalismo in pieno svolgimento.Abstract: The relationship between the Self and the Other represents a leitmotiv throughout Foucault’s research. In the sixties, he certainly addressed the issue from two perspectives. The Other is the whole history of madness from the end of the Middle Ages to the limits of Freud’s early studies. The Other is in the literary writings by Sade, Hölderlin, Nietzsche, Artaud, Bataille, Roussell, Blanchot, Klossowski, who are all summoned together on a philosophical scenario which ranges from surrealist theories of writing, and the work of art and first forms of structuralism in full swing.

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Klibbe, Lawrence H., and Victor Garcia de la Concha. "El Surrealismo." Hispanic Review 53, no. 2 (1985): 253. http://dx.doi.org/10.2307/473333.

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34

Figueiredo, André Videira de. "A Metrópole Carnavalizada: Os Blocos de Rua Como Performances Surrealistas e Situacionistas na Cidade do Rio de Janeiro." Revista Lusófona de Estudos Culturais 8, no. 1 (June 30, 2021): 203–20. http://dx.doi.org/10.21814/rlec.3224.

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O carnaval de rua do Rio de Janeiro, manifestação cultural em franco crescimento nas últimas três décadas, foi alvo de recentes investimentos ordenadores pelo poder público e pelos interesses mercantis. Uma das consequências desta intervenção foi a distinção dos blocos de rua entre oficiais e não-oficiais. É acerca deste segundo tipo de blocos, caracterizados pela espontaneidade e pela horizontalidade, que este artigo tratará, tomando como caso exemplar o Cordão do Boi Tolo. Tais manifestações consubstanciam vivências da cidade que se impõem, do ponto de vista estético e cultural, como experiências criativas de performatização dos corpos. Numa perspectiva política, estas manifestações constituem formas libertárias de ocupação do espaço público e de ressignificação dos usos da cidade. Unindo análise literária, reflexão sociológica e observação etnográfica, o artigo pretende discutir este carnaval de rua como um prolongamento inesperado das propostas surrealista e situacionista de reencantamento do mundo e de manifestação do maravilhoso. Conclui-se que a magia que a literatura opera no surrealismo continua sendo atualizada nas ruas e encruzilhadas do Rio de Janeiro pelos blocos carnavalescos, em sua oposição aos poderes institucionais e ao controle do mercado. É no gozo da cidade pelos foliões que a flânerie se converte em escrita criativa da realidade. É nas ruas da metrópole carnavalizada que a deriva se encontra enraizada nas mais antigas tradições da praça como espaço livre e gratuito de criação popular.

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35

Gorelov, O. S. "Genre Aspects of Implementation of Surrealist Code in Literature." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 32–42. http://dx.doi.org/10.15826/izv1.2020.26.4.067.

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The article analyzes the genre conditions for the actualization of the surrealist code one of the style codes of literature. Analysis of the conditions for the implementation of such a style code allows to determine the boundaries of style, as well as its transformation in recent times. Of particular interest is the appeal of the authors to the formula genres of both marginal literature and mainstream. This contributes to the manifestation of the surrealist code in literature and other art forms of the 20th and early 21st centuries.

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Pawlik, Joanna. "Surrealism, Beat Literature and the San Francisco Renaissance." Literature Compass 10, no. 2 (February 2013): 97–110. http://dx.doi.org/10.1111/lic3.12029.

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37

Lawall, Sarah, and Renée Riese Hubert. "Surrealism and the Book." World Literature Today 63, no. 4 (1989): 656. http://dx.doi.org/10.2307/40145574.

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de Julio, Maryann, and Renee Riese Hubert. "Surrealism and the Book." SubStance 18, no. 2 (1989): 118. http://dx.doi.org/10.2307/3685316.

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Bohn, Willard, and J. H. Matthews. "Surrealism, Insanity, and Poetry." Comparative Literature 38, no. 1 (1986): 108. http://dx.doi.org/10.2307/1770237.

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Bohn, Willard, and Renee Riese Hubert. "Surrealism and the Book." Comparative Literature 42, no. 3 (1990): 280. http://dx.doi.org/10.2307/1770498.

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McH., B., and Renee Riese Hubert. "Surrealism and the Book." Poetics Today 11, no. 2 (1990): 445. http://dx.doi.org/10.2307/1772631.

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42

Eburne, Jonathan P. "The Edges of Surrealism." Journal of Modern Literature 26, no. 3 (2003): 148–53. http://dx.doi.org/10.1353/jml.2004.0029.

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Ryan, Judith. "Fulgurations: Sebald and Surrealism." Germanic Review: Literature, Culture, Theory 82, no. 3 (July 2007): 227–49. http://dx.doi.org/10.3200/gerr.82.3.227-250.

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44

Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (November 27, 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 transmedial aesthetics, to become known as photo-literature. Previously, reproduction had been confined to the textual realm. Bruges La Morte by Georges Rodenbach was the first ever work of photo-literature to commingle these respective art forms, sixty-five years after the invention of photography in 1827. Rodenbach’s novella was first published in 1892 at the height of the symbolist movement which spanned literature, painting, photography and more. Its pseudo-progeny, Andre Breton’s surrealist text Nadja was published in 1928 depicting the author’s meandering through the Parisian cityscape. In these works, text and image engender a sense of cosmopolitanism through the function of transposition.

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Earle, Jason. "Surrealism’s Secret Societies." L'Esprit Créateur 53, no. 3 (2013): 129–42. http://dx.doi.org/10.1353/esp.2013.0027.

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Lusty, Natalya. "Surrealism's banging door." Textual Practice 17, no. 2 (January 2003): 335–56. http://dx.doi.org/10.1080/0950236032000094872.

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Eburne, Jonathan P. "Review: THE EDGES OF SURREALISM." Journal of Modern Literature 26, no. 3-4 (March 2003): 148–53. http://dx.doi.org/10.2979/jml.2003.26.3-4.148.

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Abdel-Jaouad, Hedi. "Kateb Yacine's Modernity: Rewriting Surrealism." SubStance 21, no. 3 (1992): 11. http://dx.doi.org/10.2307/3685112.

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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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STEEL, DAVID. "SURREALISM, LITERATURE OF ADVERTISING AND THE ADVERTISING OF LITERATURE IN FRANCE 1910–1930." French Studies XLI, no. 3 (1987): 283–97. http://dx.doi.org/10.1093/fs/xli.3.283.

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