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Relevant bibliographies by topics / Surrealist poetry

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Academic literature on the topic 'Surrealist poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Surrealist poetry"

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Gorelov, Oleg S. "SURREALISATION OF SOUND: MUSICALITY, AUDIAL CULTURE AND SOUND IN THE MODERN RUSSIAN POETRY (VADIM BANNIKOV, VASILIY BORODIN, NIKITA SAFONOV)." Vestnik of Kostroma State University, no. 3 (2020): 187–93. http://dx.doi.org/10.34216/1998-0817-2020-26-3-187-193.

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The article discusses modern poetic practices that actualize the surrealistic code through a sound medium. Vadim Bannikov with the help of spontaneous sampling of material (figurative and verbal) brings sound and auditory constants to surrealistic editing and metamorphosis. His “asemantic poetry” reveals the collaged polyphony of the Sprechgesang, forcing to reconsider the non-musicality of classical surrealism. Vasiliy Borodin’s auditory asemic letter becomes a solution to the poetry task of “moving away from words” formulated by the poet himself, but in a surrealist context; this turns out to be a new stage in objectification of the code. If Vadim Bannikov’s automatism frees the subject, the surrealisation of Vasiliy Borodin frees the very musicality and audial culture (possibly “to the detriment” of poetry). The third alternative way to work with sound is offered by Nikita Safonov’s poetic practice. A general deterritorialisation of sound takes place in it, the sounding is freed through the objectification of sound, freed from the human as well. The sound landscape on equal terms includes silence (zero state of sound), the sounds themselves in their materiality and noise. The noise, understood as an empty sign, actualises the mathematical in sound. In the surrealist code, therefore, mathematics and abstraction become an important condition for further private implementations of surrealistic thought and aesthetics.

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

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

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

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

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Belton, Robert. "Surrealist Poetry: An Anthology." European Legacy 24, no. 6 (February 11, 2019): 664–66. http://dx.doi.org/10.1080/10848770.2019.1576342.

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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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Low, Graham D. "Evaluating translations of surrealist poetry." Target. International Journal of Translation Studies 14, no. 1 (December 31, 2002): 1–41. http://dx.doi.org/10.1075/target.14.1.02low.

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Evaluating translations of poetry will always be difficult. The paper focuses on the problems posed by French surrealist poetry, where the reader was held to be as important as the writer in creating interpretations, and argues that evaluations involving these poems inevitably require reader-response data. The paper explores empirically, in the context of André Breton’s “L’Union libre”, whether a modification of Think-Aloud procedure, called Note-Down, applied both to the original text and to three English translations, can contribute useful information to a traditional close reading approach. The results suggest that comparative Note-Down protocols permit simple cost-benefit analyses and allow one to track phenomena, like the persistence of an effect through the text, which might be hard to obtain by other methods.

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Taminiaux, Pierre. "Paul Nougé : Surrealist Poetry as Art." Journal of Research in Art Education 19, no. 3 (July 31, 2018): 33–48. http://dx.doi.org/10.20977/kkosea.2018.19.3.33.

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Gorelov, Oleg S. "Principles of surrealist humour in the poetry of Leonid Shvab." Vestnik of Kostroma State University, no. 2 (2019): 187–91. http://dx.doi.org/10.34216/1998-0817-2019-25-2-187-191.

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The article analyses the poetic style of Leonid Shvab, which is described as impassive and distant in literary criticism, while the contrasting elements of humour and violence play an important role in the texts. Through the theory of surrealist humour, which clarifi es this contradiction, the nature of the comic in Leonid Shvab’s texts is investigated, and the aestheticemotional specifi city of his poetry is clarifi ed, as well as its perception by the reader. The basic mechanisms of surrealist humour – the creation of a mise en scène (theatricality), the realisation of gallows humour, the functioning of interrelated concepts of objective humour and objective chance – and their specifi c action in Leonid Shvab's verses, which turns out to be included in the context of Russian prose of the 1920s and 30s years (Andrei Platonov) and in the context of objectoriented philosophy.

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Aubert, E. "A Glance at Love in Surrealist Poetry." Euphonie 1, no. 1 (2017): 23. http://dx.doi.org/10.5958/2457-0192.2017.00005.x.

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Dissertations / Theses on the topic "Surrealist poetry"

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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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Ryland, C. A. "Memorialisation and metapoetics in Paul Celan's translations of French surrealist poetry." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1445830/.

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Contrary to assumptions within existing scholarship on Paul Celan's poetics, this thesis demonstrates that surrealist aesthetics were a significant discourse within Celan's poetics, in particular in die theories articulated in his Buchner Prize speech (1960). By mapping the points of convergence and divergence between specific surrealist ideas and particular elements of Celan's poetics, it demonstrates that the most significant point of contact between die two sets of aesthetics lies in the surrealist idea of a sustained tension between the unconscious and conscious realms, and between the past and die present, which elucidates Celan's well-known 'meridian' metaphor. The study thus develops new interpretations of Celan's theories, in particular in its assertion of the primacy of unconscious impulses in Celan's view of poetic language. Its conclusions thereby impact on an understanding not only of the specific status of the surrealist discourse in Celan's aesthetics, but also of the shifting relationship between poetic language and die poet's and readers' conscious and unconscious realities and of the intentional and unintentional cultural encounters that impact on linguistic and literary7 signification. The inquiry' focuses on verifiable and concrete points of contact between Celan's writings and surrealist texts, in the form of his translations of surrealist poems, his poetological notes and his correspondence. Recently published correspondence and theoretical writings by Celan reveal that he considered poetry to be composed in part as a result of unconscious impulses, which become visible during translation. Close readings of Celan's versions of surrealist poems demonstrate that these translations both illustrate and thematise this textual Unconscious, and so exhibit the metapoetic content of Celan's translations. By focusing in particular on the surrealist aspects of the original poems translated by Celan, and on Celan's transformation of these features into metapoetic figures, these readings therefore demonstrate the poetological significance of Celan's encounter with surrealism, and culminate in a new conceptualisation of his poetics of translation.

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Rattray, Jacqueline. "The surrealist visuality of José Maria Hinojosa : a sight for sore eyes." Thesis, University of Aberdeen, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248589.

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This thesis explores the concept of surrealist visuality in the work of the lesser-known, Spanish poet José Maria Hinojosa (1904-1936). His later, surrealist writings are analysed within both a comparative and interdisciplinary context. The theoretical framework for this thesis is provided by French surrealism - notably the writings of André Breton. And the interdisciplinary aspect includes lived events of surrealism along with more expected media. The whole argument is structured around a particular type of dialectic which is termed the 'surrealist dialectic'. Being a deviation from the Hegelian model, the surrealist dialectic concerns itself with the stages in between 'thesis', 'antithesis' and 'synthesis'. These intermediary stages are defined in terms of transgression, transformation and 'transreification'. The whole of this thesis is divided into three parts, each corresponding to a dialectical stage. There are three chapters in each of the three stages and these combine to offer another, 'micro-dialectic' within the whole. Each first chapter outlines the main theme from the context of French surrealism, and then applies this theory to Hinojosa's dream-narratives. The second chapters discuss Hinojosa's surrealism in biographical terms, and then combine other practices - surrealist collage (Angel Planells), paranoia-criticism (Salvador Dali), and surrealist cinema (Luis Buñuel) - with a response to Hinojosa's poetry. The third chapter focuses on the role of automatic writing, and analyses Hinojosa's oneiric texts from three different perspectives - as revolutionary power, as surrealist narcotic and as surreal madness.

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Dunwoodie, Elza. "A stammering staircase : association and disruption in Andre Breton's surrealist poetry (1919-1939)." Thesis, Birkbeck (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295598.

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Cox, J. N. "Dadaist, Cubist and Surrealist influences in settings by Francis Poulenc of contemporary French poets." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375864.

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Scanlan, Patricia Hope. "English surrealism in the 1930s, with special reference to the little magazines and small presses of the period." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368111.

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Patterson, Jennifer J. "Fragmented bodies : towards a feminist analysis of visual and verbal language in in early surrealist poetry and art." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410225.

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Vergara, Cynthia P. "Gypsie." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/83.

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Many of these poems deal with childhood, love, art, and the search for meaning. Most of the poems have a female voice that is hopeful and acceptant. The format of the thesis goes from adulthood to childhood and works as a return to the familial.

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Reiner, Nery Nice Biancalana. "A poética de Manoel de Barros e a relação homem-vegetal." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-02102007-151624/.

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O presente trabalho é uma escolha, entre muitos caminhos, de uma pesquisa iniciada no Curso de Mestrado. A dissertação, defendida em 2000, na FFLCH, USP, sob a orientação da Profa. Dra. Maria Lúcia Pimentel de Sampaio Góes, recebeu o título de O REINO VEGETAL E O IMAGINÁRIO: comparação entre mitos do Leste do Mediterrâneo, narrativas indígenas brasileiras e textos literários da Cultura Ocidental Européia, (ênfase a Portugal e Brasil). O caminho escolhido, agora, é detectar a influência dos vegetais na criação poética de Manoel de Barros. Voltados para o mundo das plantas, recortando poemas fitomórficos, relacionados aos vegetais do referido autor, comparando-os com textos visuais e verbais, observaremos possíveis semelhanças e ou diferenças Autores de Portugal, Brasil e África estarão presentes, com textos poéticos. O trabalho está estruturado em dois grupos de comparações: 1 autores brasileiros, portugueses e africanos de língua portuguesa. Escolhemos criações de autores como Cecília Meireles, Murilo Mendes, Lúcia Pimentel Góes, Fernando Pessoa, Herberto Hélder, Ruy Cinatti, Rui Knopfli, João Melo e outros. 2 textos visuais de Arcimboldo, pintor italiano, Van Gogh, holandês, René Magritte, belga e Frida Khalo, mexicana. Seguindo a Dissertação defendida em 2000, nosso trabalho está apoiado em três centros de interesse, seguindo as principais tendências observadas por Mircea Eliade1, em seus estudos sobre os mitos relacionados aos vegetais de diversos povos: a) A identificação da árvore com o cosmos b) A identificação da árvore com o homem c) A nostalgia do paraíso Esses centros de interesse aparecem entrelaçados de modo plural. Além disso, estarão mesclados em nossa pesquisa, os elementos: Terra, Ar, Fogo e Água, envolvendo os três níveis cósmicos: Mundo Subterrâneo, Mundo Terrestre e Mundo Celeste.
The current thesis is a choice, among many roads, of a research initiated during the Master´s course. The M.A.´s dissertation, defended in 2000, is the Faculty of Philosophy, Letters and Human Sciences, at the Universidade de São Paulo, under the supervision of Professor Dr. Maria Lúcia Pimentel de Sampaio Góes, was entitled O Reino Vegetal e o Imaginário: comparação entre mitos do Leste do Mediterrâneo, narrativas indígenas brasileiras e textos literários da Cultura Ocidental Européia (ênfase em Portugal e Brasil). The chosen path this time has been the detection of the influence of vegetals in Manoel de Barros´s poetic creation. Through the observation of the world of plants, the depiction of Manoel de Barros´s phitomorphic poems, related to vegetals and the comparasion to visual and verbal texts, we shall focus on possible similarities and or differences. This work is structured in two comparative groups: 1 Brazilian, Portuguese and African of the Portuguese language authors. We have chosen works by authors such as Cecília Meireles, Murilo Mendes, Lúcia Pimentel Góes, Caetano Veloso, Fernando Pessoa, Herberto Hélder, Ruy Cinatti, Rui Knopfli, João Melo and others. 2 Visual texts by Arcimboldo, Italian painter, Van Gogh, Dutch, René Magritte, Belgian and Frida Khalo, Mexican. According to the 2000 Master´s dissertation, this work has its basis upon three centers of interest, which follow the main tendencies that appear in Mircea Eliade´s studies on myths related to diverse peoples ´ vegetals: a) The identification of trees to the cosmos. b) The identification of trees to men. c) Paradise´s nostalgia. These centres of interest are plurally intertwined. Moreover, they are here mixed with such elements as Earth, Air, Fire and Water, involving the three cosmic levels: the Subterranean, Terrestrial and Celestial worlds.

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Simões, Adriana Rodrigues. "O lúdico e seus desdobramentos na poesia de Jacques Prévert e Mario Quintana /." Araraquara : [s.n.], 2012. http://hdl.handle.net/11449/94007.

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Orientador: Guacira Marcondes Machado Leite
Banca: Paulo Cesar Andrade da Silva
Banca: Silvana Vieira da Silva
Resumo: O objetivo deste trabalho é comparar a poesia de Jacques Prévert e de Mario Quintana à luz dos elementos lúdicos que ambos, em nosso entender, apresentam. Levando em consideração principalmente a teoria de Johan Huizinga sobre o jogo e a poesia, analisamos poemas de Prévert e de Quintana tentando apontar as diferenças e as semelhanças do processo lúdico em ambos. Consideramos ainda a influência que o movimento surrealista exerce sobre os dois poetas estudados e a ligação deste movimento com o jogo. Iniciamos esta pesquisa utilizando o livro Homo ludens de Huizinga e, posteriormente, intentamos fazer um percurso sobre a teoria do jogo. Consideramos, inicialmente, a Crítica da faculdade do juízo de Kant e A educação estética do homem de Schiller e a contribuição de ambos para o início de uma efetiva teorização sobre o jogo. Levamos em conta ainda, as considerações de Umberto Eco e de Roger Caillois, no que estes podiam acrescentar à teoria de Huizinga, além das aproximações entre poesia e mito apontadas por Ernst Cassirer. Desse modo, embasados nessas proposições teóricas, pensamos ter encontrado uma intersecção entre poesia e jogo e tê-la utilizado como principal elemento de comparação entre os dois poetas acima mencionados
Abstract: It is this work's goal to compare the poetry of Jacques Prévert and Mario Quintana based on the ludic elements which, for us, both of them present. Considering especially Johan Huizinga's theory about the play and the poetry, we analyzed poems of Prévert and Quintana, in which we pointed the differences and similarities of the ludic process in both poets. We also considered the fact that both poets were influenced by the surrealistic movement and the connection between this movement and the concept of play. In the start of this research we used Huizinga's Homo ludens, and then we analyzed the trajectory of the theory of play - through Kant's Crítica da faculdade do juízo and Schiller's A educação estética do homem, books which have a great contribution to an effective theorization of play. We also studied the commentaries of Umberto Eco and Roger Caillois, considering what they can add on Huizinga's theory. At last we analyzed the approximations between poetry and myth pointed by Ernst Cassirer. So, through this theoretical propositions, we can conclude that there is an intersection between poetry and play - and it was our objective to compare Prévert's and Quintana's poetry considering this intersection
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Books on the topic "Surrealist poetry"

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Surrealist poets. Ipswich, Mass: Salem Press, 2012.

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Jackaman, Rob. The course of English surrealist poetry since the 1930s. Lewiston: E. Mellen Press, 1989.

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Marvelous encounters: Surrealist responses to film, art, poetry, and architecture. Lewisburg, [Pa.]: Bucknell University Press, 2005.

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

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Buxton, Emma. Uses of the surrealist voice: A comparative study of the poetry of Aimé Césaire and Octavio Paz. Manchester: University of Manchester, 1997.

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Benisi, Helen. Aspects of surreality in Engonopoulos' poetry. Birmingham: University of Birmingham, 1995.

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Jean-Claude, Michel. The black surrealists. New York: P. Lang, 2000.

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De Baudelaire ao surrealismo. São Paulo: EDUSP, 1997.

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Surrealism: The road to the absolute. 3rd ed. Chicago: University of Chicago Press, 1986.

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Hypodermic light: The poetry of Philip Lamantia and the question of surrealism. New York: P. Lang, 2005.

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Book chapters on the topic "Surrealist poetry"

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

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

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"Ithell Colquhoun’s experimental poetry." In Surrealist women’s writing. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526132031.00014.

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Hetherington, Paul, and Cassandra Atherton. "Neo-Surrealism within the Prose Poetry Tradition." In Prose Poetry, 102–27. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0005.

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This chapter assesses the American neo-surreal as an influential strand of prose poetry, adapting ideas that originated with the surrealists to challenge assumptions about how the world should be understood, and prose-poetic narratives ought to be read. The term “neo-surrealism” does not have to be restrictive but may be used as a way of opening up an understanding of certain key features of prose poetry internationally. And while American prose poets are certainly not the first to experiment with surrealism, many contemporary American prose poets demonstrate a particular interest in absurdism and neo-surrealism. As a result, neo-surrealism is arguably best exemplified by American prose poets — in terms of the number of writers employing such techniques and the quality of neo-surrealistic works being written. Notwithstanding its contemporaneity, the neo-surrealistic strand of prose poetry maintains a clear — if sometimes lateral — connection to the strange and often dreamlike works produced by nineteenth-century French prose poets such as Charles Baudelaire and Arthur Rimbaud.

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Robertson, Eric. "A la dérive." In What Forms Can Do, 271–86. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620658.003.0018.

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The notion of the formless found a lasting definition in Documents, the dissident Surrealist magazine led by Georges Bataille, Carl Einstein and Michel Leiris from 1929 to 1931. In an unassuming short entry for its ‘Dictionnaire’, Bataille presents the informe emphatically not as a system or a structure, but as ‘un terme servant à déclasser’; yet neither the disruptive impulse of the 'Dictionnaire', nor the more recent exhibitions it has generated, can avoid a measure of taxonomic organisation (L'Informe: mode d'emploi, 1996; Undercover Surrealism, 2006). In the realm of poetry, free verse has eroded the boundaries of the poetic, but its freedom from formal constraints is limited too; as Jay Parini (2008) contends, ‘formless poetry does not really exist, as poets inevitably create patterns in language that replicate forms of experience.’ Through a small number of case studies, this chapter will consider the legacy of Bataille’s definition while assessing the ongoing tension between form and its undoing in textual and visual art of the twenty-first century.

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Brunner, Edward. "New York School and American Surrealist Poetics." In The Cambridge Companion to Modern American Poetry, 196–208. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cco9781139628907.017.

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"4. SURRATIONAL SOLIDS, SURREALIST LIQUIDS: CRYSTALLOGRAPHY AND BIOTECHNOLOGY IN MATERIALS SCIENCE AND MATERIALIST POETRY." In The Limits of Fabrication, 153–215. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823274789-007.

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Kane, Daniel. "Richard Hell, Genesis: Grasp, and the Making of the Blank Generation." In "Do You Have a Band?", 90–120. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231162975.003.0005.

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From his early days in the Neon Boys through the Voidoid’s Blank Generation, Hell seeded references to Nerval, Rimbaud, Artaud, and other writers into his lyrics. While the influence of French literature on Hell’s musical output is fairly well documented, however, what is not investigated sufficiently is how, like a number of the musicians considered here, Hell’s love for French romantic, symbolist and surrealist literature coincided with an increasing attraction to the chirpy poetics of sociability then dominant in New York’s literary avant-gardes. Beginning with an in-depth reading of Hell’s editorship of a Lower East Side-based literary magazine Genesis : Grasp, this chapter moves on to explore how the St. Mark’s poets’ critical engagement with seriousness as a mode informed Hell’s literary and musical tastes. Hell would never read poetry or listen, sing and play music in such a way as to presuppose solemnity, intensity and passion were prima facie good things.

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"Surrealism:." In Poetry & Language Writing, 19–30. Liverpool University Press, 2007. http://dx.doi.org/10.2307/j.ctt5vjknj.6.

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James, Alison. "“Pris sur le vif”." In The Documentary Imagination in Twentieth-Century French Literature, 77–122. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859680.003.0003.

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This chapter examines the surrealists’ deployment of the verbal or photographic document as a model that is simultaneously poetic and anti-literary. The surrealists eventually depart from their initial understanding of automatic writing as a “snapshot” that captures uncensored thought. Instead, their writings of the late 1920s and 1930s increasingly frame a range of poetic and visual documents within a multi-layered ethnographic discourse, whether in prose texts that attend to urban experience (Aragon’s Le Paysan de Paris, Breton’s Nadja), or, on the margins of the official surrealist group, in the work of Bataille’s Documents magazine. Finally, Michel Leiris’s reflections on ethnographic display simultaneously reveal the importance of contextualizing evidence and highlight the problematic collection practices that transform indigenous artifacts into cultural “documents.”

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Conference papers on the topic "Surrealist poetry"

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Pulla González, Jorge. "Walker Evans y Europa. La influencia de las vanguardias en el estilo documental norteamericano." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6740.

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Walker Evans (1903-1975) es una figura central de lo que se ha llamado el “estilo documental”, en especial por el papel que tuvo en el seno del proyecto emprendido por la Farm Security Administration durante los años treinta. Evans fue despedido de la FSA muy tempranamente, pero su trabajo constituye el núcleo del proyecto y la base del estilo documental norteamericano. A lo largo de esta comunicación indicaremos las fuentes europeas de las que este surgió, entre las que se encuentra la literatura y la fotografía del entorno de las vanguardias, en especial del surrealismo francés. Mostraremos cómo la fotografía de Evans surge en un medio totalmente europeo y bebe de dos fuentes completamente distintas: En primer lugar, está la literatura, especialmente la literatura francesa encarnada en dos figuras fundamentales: el poeta Baudelaire, del cual extraerá el espíritu propio del flâneur, y Flaubert, figura clave del realismo exacerbado. El método de Flaubert será incorporado por Evans de modo natural, como una prolongación involuntaria de su fracasada actividad literaria. Walker Evans estableció una estrecha relación con la literatura francesa de vanguardia a través de sus lecturas, primero, en la biblioteca universitaria del Williams College y, más tarde, durante sus tres años de trabajo en la New York Public Library. En estas instituciones leyó a Baudelaire, a Gide y al resto de los escritores franceses más innovadores. Esta relación se hizo más estrecha aún durante la larga estancia en París de la que disfrutó los años 1926-1927. Aunque la estancia en Francia no le reportó ningún beneficio a su casi inexistente prosa, su experiencia europea y el contacto con la vanguardia literaria que esta le procuró han de tenerse en cuenta a la hora de entender su desarrollo posterior como fotógrafo, hecho que la crítica norteamericana tiende a minusvalorar a la hora de analizar su obra, que prefiere entender como algo pura e intrínsecamente estadounidense. Pero, como veremos, Evans mismo desmiente este acercamiento a su trabajo. En 1927 regresa a los Estados Unidos, abandonando definitivamente la escritura. Cuando comienza a fotografiar, la atención a los objetos comunes y a lo ordinario presentes en la literatura de las vanguardias serán inmediatamente el origen de las listas de temas de su trabajo, centrado, en línea con Mac Orlan, Benjamin y el surrealismo, en “los desechos de lo cotidiano” y en los signos urbanos: la publicidad y las señales, los maniquíes… En segundo lugar, la fotografía, cuyos referentes más directos son Brady y, especialmente, el francés Atget, con cuya obra entabló contacto en ambientes muy influidos por el surrealismo. También asimiló estrategias de la fotografía constructivista soviética y alemana de vanguardia, especialmente en sus estudios de las potencialidades geométricas de las grandes estructuras arquitectónicas.

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