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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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Kang, Yoonjeong, and Yoonhan Jeon. "Reproduction of French Surrealist Poetry by Chanson." Korean Society of Culture and Convergence 40, no. 2 (June 30, 2018): 175–96. http://dx.doi.org/10.33645/cnc.2018.06.40.3.175.
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Parkinson, Gavin. "Method and Poetry: Georges Seurat's Surrealist Dialectic." Art Bulletin 99, no. 3 (July 3, 2017): 125–46. http://dx.doi.org/10.1080/00043079.2017.1292880.
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Gorelov, O. S. "SURREALIST THESAURUS IN V. KONDRATIEV’S POETRY: LOGIC AND WAYS OF SURREALIST STATEMENTS OBJECTIFYING." Учёные записки Петрозаводского государственного университета 43, no. 1 (January 2021): 89–96. http://dx.doi.org/10.15393/uchz.art.2021.561.
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Lepri, Chiara. "Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 61–74. http://dx.doi.org/10.36253/rse-9654.
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In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.
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Pelard, Emmanuelle. "L’écriture détournée par la sérigraphie dans les poèmes-estampes de Roland Giguère." Quêtes littéraires, no. 6 (December 2, 2016): 108–17. http://dx.doi.org/10.31743/ql.218.
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The surrealist Quebec poet, painter and artists’ books editor Roland Giguère has based his entire work on a dialogue between poetry and visual arts (painting, serigraphy, typography) in order to experiment the iconicity of writing. He has composed a graphic poetry made of plastic and iconic signs as well as graphic signs, playing with the semiotic ambiguity to create poetic effects and sense. His polysemiotic experiment of the poem based on a specific use of serigraphy has impacted the readability, but has paradoxically shown a new kind of poeticity and the expressiveness of writing. The aim of this article is to establish how the writing subversion and the semiotic experiment allowed by an original use of serigraphy creates poetry.
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PRADIVLIANNA, LIUDMYLA. "SEMANTIC FUNCTION OF EUPHONIC ELEMENTS IN SURREALIST POETRY." Scientific papers of Berdiansk State Pedagogical University. Series: Philological sciences 18 (April 2019): 102–10. http://dx.doi.org/10.31494/2412-933x-2019-1-8-102-110.
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Opiela-Mrozik, Anna. "Nieustające powroty. O literackim i artystycznym odkrywaniu Mallarmégo." Przegląd Humanistyczny 61, no. 4 (459) (May 21, 2018): 163–71. http://dx.doi.org/10.5604/01.3001.0012.0675.
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The article discusses selected literary and artistic discoveries of Mallarmé’s aesthetics from the end of the 19th to the beginning of the 21st century. Mallarmé, whom Verlaine included in the circle of “poètes maudit” and who was considered a master of decadence thanks to Huysmans’s novel Against Nature, was announced a surrealist in Surrealism Manifesto by André Breton and his name appeared in the writing of Valéry and other 20th-century poets and writers. The Cubists were delighted with “spatialization” of poetry in A Roll of the Dice. In addition, constant discovering of the poet by the composers – from Debussy and Ravel, through Boulez, to the contemporary artists such as Marc-André Dalbavie or Jean-Luc Hervé cannot be overlooked.
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Martín Fumero, José Manuel. "Asedios a la poesía surrealista de José María de la Rosa. El caso de “Vértice de Sombra” = Norrowing down José María de la Rosa’s surrealist poetry. The example of “Vértice de Sombra”." Lectura y Signo, no. 13 (December 21, 2018): 121. http://dx.doi.org/10.18002/lys.v0i13.5671.
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<p class="Pa15">José María de la Rosa es uno de los más genuinos representantes de la estética surrealista que se abrió paso durante el periodo prebélico en Canarias. Junto a Agustín Espinosa, Pedro García Cabrera, Domingo López Torres y Emeterio Gutiérrez Albelo formó parte del núcleo surrealista de <em>Gaceta de Arte</em>, y fue autor de algunos de los poemarios que con mayor fervor abrazaron el credo bretoniano. <em>Vértice de sombra </em>es, sin duda, la mejor muestra de esta personalísima adhesión, y en este artículo intentaremos desentrañar las principales claves que, a partir de esta <em>plaquette</em>, lo sitúan como uno de los miembros más singulares dentro del grupo surrealista canario.</p><p class="Pa15">José María de la Rosa is one of the most genuine representatives of the surreal aesthetic that made its way during the pre—war period in the Canaries. Together with Agustín Espinosa, Pedro García Cabrera, Domingo López Torres and Emeterio Gutiérrez Albelo he was part of the <em>Gaceta de Arte</em>’s surrealist circle , and he was the author of some of the collection of poems that most eargly embraced the Bretonian creed. <em>Vértice de sombra </em>is undoubtedly the best example of this his very personal adherence , and in this article we aim at unrevealing the main key elements from this plaquette which place him as one of the most unique members within the surrealistic Canarian group.</p>
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RATTRAY, JACQUELINE. "Analyzing Surrealist Madness Through the Poetry of Salvador Dalí." Comparative Critical Studies 5, no. 2-3 (October 2008): 207–20. http://dx.doi.org/10.3366/e1744185408000414.
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Jardim, Luciana Abreu. "Antonin Artaud e Mário Cesariny: desconstruções da metáfora solar." Navegações 9, no. 2 (April 26, 2017): 144. http://dx.doi.org/10.15448/1983-4276.2016.2.27188.
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O poeta português Mário Cesariny foi profundamente influenciado pela poesia, vida e textos de caráter surrealista de Antonin Artaud. O artigo analisa a relevância dessa influência para o conceito de metáfora e sua relação com a experiência poética de Mário Cesariny em poemas escolhidos do volume Manual de prestidigitação. O foco da discussão sustenta-se na desconstrução da metáfora solar, que é paradigmática para todas as metáforas e mantém característica de obscuridade, produzindo sentidos que ultrapassam aqueles usualmente disseminados pelos poetas. O estudo baseia-se nas considerações de Jacques Derrida acerca dos usos da metáfora, desenvolvidos no artigo intitulado “Mitologia branca”.********************************************************************Antonin Artaud and Mário Cesariny: deconstructions of the solar metaphorAbstract: The Portuguese poet Mário Cesariny was deeply influenced by the surrealist character in the poetry, life and texts of Antonin Artaud. The article analyzes the relevance of this influence to the concept of metaphor and its relation with the poetic experience of Mário Cesariny in poems that were chosen from the volume Manual de Prestidigitação. The focus of the discussion stands on the deconstruction of the solar metaphor, which is paradigmatic for all metaphors and maintains a characteristic of obscurity, producing meanings that surpass those usually disseminated by poets. The study is based on the considerations of Jacques Derrida on the uses of the metaphor, developed in the article called “White mythology”. Keywords: Mário Cesariny; Antonin Artaud; metaphor; deconstruction.
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Brzezińska, Anna Maria. "Atmosphere of societal anxiety and representations of the body: The image of man in surrealist works of Vítězslav Nezval in the 20th century interwar period in Bohemia." Journal of Education Culture and Society 9, no. 1 (June 27, 2018): 181–89. http://dx.doi.org/10.15503/jecs20181.181.189.
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Aim: The interwar period in Czechoslovakia was a time of societal anxiety. The aim of this paper is to find the central themes of societal fear, as reflected in the surrealist works of Vítězslav Nezval, a czech poet. The analysis will be based primarily on the lyric poetry from the collections: Žena v množném čísle [Woman in Plural] (1936) and Absolutní hrobař [Absolute Gravedigger] (1937).
Methods: The analysis is based on the Josef Vojdovík’s anthropo-phenomenological method of exploring the surrealist perceptions of the body, which is based on vertical and horizontal anthropological dimensions and phenomenological conceptions of fears.
Results: Surrealist poetry and other literary works contain images of the body that are changed by fear: deformations, metamorphoses, fragmentarisations, hybridisations, expressing the body as a collage, a mosaic, an amalgam, a phantom, a grotesque, an inlay, and as lifelessness. It undergoes multiple metamorphoses, not only within its own form, but also with regard to the categories of life and lifelessness.
Conclusions: The analysis leads to the conclusion, that V. Nezval’s works show a clear tendency to portray the body as an object which undergoes a metamorphosis. The body is balanced on the edge between living and dead, organic and inorganic, it is determined by time and space. It is often shown along the narrowing-widening relation, in stupor, petrification, reduced to a flat surface or miniaturised.
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Stafford, Andy. "Surrealist Poetry: An Anthology, edited and translated by Willard Bohn." Translation and Literature 27, no. 1 (March 2018): 107–10. http://dx.doi.org/10.3366/tal.2018.0327.
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Fijalkowski, Krzysztof. "Objective poetry: Post-war Czech surrealist photography and the everyday." History of Photography 29, no. 2 (June 2005): 163–73. http://dx.doi.org/10.1080/03087298.2005.10441368.
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Nicholls, Peter. "Anti-Oedipus? Dada and Surrealist Theatre, 1916–35." New Theatre Quarterly 7, no. 28 (November 1991): 331–47. http://dx.doi.org/10.1017/s0266464x00006035.
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In a sequel to his essay ‘Sexuality and Structure in Expressionist Theatre’ in NTQ26, Peter Nicholls here explores a very different set of developments in the French avant-garde drama of the period. Arguing that Dada and Surrealist theatre have a strongly marked ‘anti-oedipal’ tendency, he suggests that their polemics against the family and paternal law contrast with the increasing prominence given to Freud's masterplot in Expressionism. Peter Nicholls teaches English and American Literature at the University of Sussex: his publications include Ezra Pound: Politics, Economics, and Writing, and articles on postmodernism, contemporary poetry, and French cubism. His Modernisms: a Literary Guide will be published by Macmillan in 1992.
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Bergamaschi Novaes, Bárbara. "As forças saturninas nas Fotomontagens do poeta Jorge de Lima / The Saturnine Forces in the Photomontages of Jorge de Lima." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 55. http://dx.doi.org/10.17851/2179-8478.15.2.55-74.
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Resumo: A partir de uma análise seletiva de oito fotomontagens do livro “Pintura em pânico” (1943) de Jorge de Lima traçamos correspondências entre as imagens do poeta alagoano, a iconografia barroca e alegórica estudada por Walter Benjamin, e as tópicas privilegiadas pelos artistas surrealistas europeus. Veremos como a praxis e os procedimentos criativos de Lima bebem das fontes dos artistas da vanguarda francesa do início do século XX, ecoando as investigações empreendidas pelo movimento encabeçado por André Breton e Georges Bataille – que, por sua vez, se configurou, nas palavras do crítico Ronaldo Brito, como: “uma tentativa heróica de atacar o cogito cartesiano” e “denunciar a falência do projeto moderno”. Para tal nos apoiaremos nas preposições, escritos e obras destes escritores supracitados, bem como nas trocas epistolares entre os poetas, Murilo Mendes e Jorge de Lima, bem como a relação de ambos com o pintor Ismael Nery.Palavras chave: Surrealismo no Brasil; artes visuais; vanguardas modernas; fotografia.Abstract: From a selective analysis approach of eight photomontages of Jorge de Lima’s book “Pintura em Pânico” (1943), we point to several correspondences between the photo-collage images of the Alagoan poet, and the baroque and allegorical iconography studied by Walter Benjamin, as well as the themes favored by surrealist’s french artists. We will regard how Lima’s creative praxis and procedures had nourished from the early-20th-century French avant-garde surrealist artists, echoing the investigations undertaken by the movement headed by André Breton and Georges Bataille – described by art critic Ronaldo Ronaldo Brito as: “a heroic attempt to attack the Cartesian Cogito” and “denounce the bankruptcy of the modern project”. For such can we will base our analysis on the writings and works of Surrealism movement members, as well as in the epistolary exchanges between poet Murilo Mendes, Jorge de Lima and the painter Ismael Nery.Keywords: Surrealism in Brazil; visual arts; modern avant-garde; photography.
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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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Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.
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From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.
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Lima, Marcel de. "Nietzsche, Plato and the Power of the Duende: The Shamanic Roots of Poetry." Aletria: Revista de Estudos de Literatura 25, no. 3 (April 28, 2016): 161–78. http://dx.doi.org/10.17851/2317-2096.25.3.161-178.
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This article deals with the shamanic roots of poetic achievement by way of analyzing the ancient Greek art-deities, namely Apollo and Dionysus, in their sharp opposition of artistic tendencies as they are presented by Friedrich Nietzsche in his reappraisal of Platonic considerations on artistic creation. This first analysis is soon followed by an interesting parallel to the Nietzschean force of the Dionysian that can be found in the equally mysterious power of the “Duende,” present in Federico García Lorca’s fusion of Surrealist concerns with his sense of native Andalusian culture, as a means to show the shamanic roots of poetic representation.
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Yoon, Su-ha. "A Study on the Media Replacement of Yi-sang's Poetry —Focusing on the Surrealist Movie "The Poet's Blood"." JOURNAL OF MODERN LITERARY THEORY 85 (June 30, 2021): 89–110. http://dx.doi.org/10.22273/smlt.85.4.
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Glăvan, Gabriela. "Verbal Dreamscapes. Dorothea Tanning’s Visual Literature." Romanian Journal of English Studies 13, no. 1 (December 1, 2016): 110–15. http://dx.doi.org/10.1515/rjes-2016-0014.
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AbstractA Surrealist painter whose artistic vision is equally visible in her literary works, Dorothea Tanning established a solid dialogue between literature and the plastic arts. The corpus of her literary oeuvre is rather small, consisting of a novel, a volume of poetry and her memoir, Between Lives. This paper argues that Tanning can be regarded as an exemplary author of a creative transfer between verbal and plastic imagination. It also explores the tension between the two means of expression, most visible in her novel Chasm: A Weekend. Here, the imagery and enigmatic symbolism of her painting come to life in the story of a strange little girl called Destina Meridian.
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Chen, Hsin-yen, and I.-wen Su. "Paintings as “Visual Poetry”: Diagrammatic Iconicity in the Art of Juan Miró." Public Journal of Semiotics 7, no. 2 (November 24, 2016): 1–20. http://dx.doi.org/10.37693/pjos.2016.7.16270.
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Conceptual Metaphor Theory (Lakoff and Johnson, 1980) and work on multimodal metaphors (Forceville, 2006) has opened up a new approach to the study of language and other modalities. However, relatively few cognitive linguistic investigations of visual art have been performed. We analyzed paintings done by Spanish Surrealist Juan Miró (1893-1983), focusing on diagrammatic iconicity, i.e. how his pictorial elements are arranged structurally in ways that correspond to their meaning. In particular, we examined the artist’s paintings between 1940 and 1970, based on the model advanced by Hiraga (2005). Our results show that iconic mappings like SIMILARITY IN MEANING IS SIMILARITY IN FORM, MORE CONTENT IS MORE FORM, and SEMANTIC RELEVANCE IS CLOSENESS, function as cognitive principles prevalent in these paintings. The current study therefore supports the proposal that diagrammatic iconicity operates across different semiotic systems, and at the same time contributes to the description and explanation of artistic practices involving language and painting.
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James, Alison. "The Surrealism of the Habitual: From Poetic Language to the Prose of Life." Paragraph 34, no. 3 (November 2011): 406–22. http://dx.doi.org/10.3366/para.2011.0033.
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This article argues that the later philosophy of Wittgenstein has significant affinities with surrealist approaches to the ordinary. It links the question of ordinary language first to the dilemmas of poetic speech after Mallarmé, then to a current of thought on everyday life that emerges in France in the wake of surrealism (Lefebvre, Blanchot, Certeau). Finally, a reading of prose texts by Breton and Aragon brings together these two lines of argument, demonstrating that surrealism appeals to ordinary language and everyday life as a remedy against the threat of scepticism. Surrealist manipulations of language are less a departure from the real than an attempt both to restore and to renew the human relation with the world. Obscured by its very familiarity, the everyday comes into view as what Cavell calls the ‘surrealism of the habitual’.
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Dworniczak, Kamila. "Defining Reality: Photography and the Surrealist Concept of the Image in Poland in the 1940s." Ikonotheka, no. 30 (May 28, 2021): 113–34. http://dx.doi.org/10.31338/2657-6015ik.30.6.
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The text discusses definitions of photography formulated in Poland in the 1940s. The author analyses Zbigniew Dłubak’s series of photographs inspired by the poetry of Pablo Neruda in reference to surrealism, Marxism, and, primarily, to Władysław Strzemiński’s theory of vision. Particular emphasis is placed on the concept of the image shared by Dłubak and Strzemiński, a concept that links the issue of realism with individual expression, allowing for a formal differentiation of representation (abstraction). In consequence, the analysed series by Dłubak is presented as sharing similarities with seemingly formally remote series of collages To My Friends the Jews by Strzemiński. Both demonstrate an ambition to express in the modern form both collective realism as well as individual memory, primarily of the war events. Proposed interpretation suggests that the use and understanding of photography as a medium closely tied to reality had a decisive meaning for the new formula of the image constructed right after 1945 – formula open to experimenting, yet also ideologically radical, addressing the existential problems of the individual involved with the new political order.
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Mønster, Louise. "Dream Poems. The Surreal Conditions of Modernism." Humanities 7, no. 4 (November 7, 2018): 112. http://dx.doi.org/10.3390/h7040112.
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The article discusses three Swedish dream poems: Artur Lundkvist’s “Om natten älskar jag någon…” from Nattens broar (1936), Gunnar Ekelöf’s “Monolog med dess hustru” from Strountes (1955), and Tomas Tranströmer’s “Drömseminarium” from Det vilda torget (1983). These authors and their poems all relate to European Surrealism. However, they do not only support the fundamental ideas of the Surrealist movement, they also represent reservations about, and corrections to, this movement. The article illuminates different aspects of dream poems and discusses the status of this poetic genre and its relation to Surrealism throughout the twentieth century.
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Nicholls, Peter. "Sexuality and Structure: Tensions in Early Expressionist Drama." New Theatre Quarterly 7, no. 26 (May 1991): 160–70. http://dx.doi.org/10.1017/s0266464x00005431.
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In the first of two essays, Peter Nicholls explores connections between ideas of an ‘absolute’ or non-representational theatre and the forms of narrative and discursivity which have traditionally invested dramatic forms. In one of the earliest Expressionist plays – Oskar Kokoschka's Murder, Hope of Women – the tension between these ideas is powerfully in evidence. Nicholls shows how Kokoschka's formal experimentalism is grounded in contemporary polemics about gender and sexuality, tracing the ways in which theatrical innovation seeks to evade the Oedipal constraints of plot and narrative. That tension, he believes, informs subsequent Expressionist drama, where an almost obsessive preoccupation with the working-through of family histories is contested by forms of theatrical ‘affect’ which undermine structure from within. Peter Nicholls's second essay will pursue the ‘anti-Oedipal’ implications of Dada and Surrealist theatre. The author teaches English and American literature at the University of Sussex, and his publications include Ezra Pound: Politics, Economics, and Writing, and articles on postmodernism, contemporary poetry, and French Cubism. His Modernisms: a Literary Guide will be published by Macmillan later this year.
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Perrey, Beate. "Exposed: Adorno and Schubert in 1928." 19th-Century Music 29, no. 1 (2005): 015–24. http://dx.doi.org/10.1525/ncm.2005.29.1.15.
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In this close reading of the first page of Adorno's "Schubert," one aim is to highlight the sheer intensity of Adorno's literary ambition, generating a visual poetics that contributes to the text's striking, and daunting, narrative complexity. With reference to the French poet Louis Aragon, Adorno situates Schubert within a distinctly surrealist landscape--a strategic move that is rhetorically as provocative as it is hermeneutically and methodologically risky. I briefly follow up some of this modernist imagery in Schubert's Winterreise, envisioned here as a nondevelopmental, glacial compositional canvas across which the wanderer wanders with a single idea in mind, forever repeated in subtle variations, affecting atmosphere (Stimmung) but not essence: in Winterreise, as Adorno's text suggests, the mind is lost in its own idea, accommodating the pre-human or post-human experience: life-in-death in the midst of an apocalyptic landscape. A second aim of this paper is to respond to Adorno's stylistic provocation: do we need poetry in music criticism, or indeed criticism as poetry? Do we need allegories of death and Utopian landscapes to talk about music? As will be argued, "Schubert" is a text whose author does not deny that his subject matter--Schubert--is, in fact, wholly fictional. Moreover, as Adorno goes on to describe Winterreise as a journey in search of an inner, and de-centered, self, and as we see this journey slowly unfold before our eyes, it becomes more than usually apparent that Adorno's true subject matter is the admission and expression of emotion. With great poetic acumen, his pen traces like a seismograph the rhythmic pulsations and shockwaves traversing Schubert's landscape. Adorno's essay begins with a fully imagined and powerfully articulated landscape, and as he goes on to render "Schubert's landscape" visible, his text takes on a geography that informs us about the structure of the very selves it describes: first Schubert's; then Adorno's; and finally, possibly, our own.
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Foster, Victoria. "The Return of the Surreal: Towards a Poetic and Playful Sociology." Qualitative Sociology Review 15, no. 1 (May 24, 2019): 148–64. http://dx.doi.org/10.18778/1733-8077.15.1.07.
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This article argues that the time is ripe to reacquaint sociology and surrealism. Taking inspiration from surrealism’s emphasis on making the ordinary strange through bizarre, lively and sometimes haunting methods might result in a more poetic and playful sociology. The article looks at how this might be applied in practice through drawing on a variety of examples of social research that share some of the tenets of surrealism, not least the latter’s focus on social justice. This enables discussion of a number of methodological concerns stemming from feminist and post-structuralist thought, including the troubling of narrative coherency and the notion of “voice.” Infusing sociology with “a surrealist spirit” requires opening up and moving away from rationality in ways that allow for the exploration of contradictions, irreverence, humor, and paradox.
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Intili, Ana María. "Lo impalpable en Blanca Varela." La Manzana de la Discordia 6, no. 1 (March 17, 2016): 81. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v6i1.1512.
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Resumen: En este ensayo se indaga sobre de dóndesurge el genio creador de la poeta peruana Blanca Varela,y se apela a las propias palabras de la autora y a los datosde otras investigadoras para encontrar las raíces de sulírica en sus juegos de palabras desde niña y en la genealogía:en su familia, encontramos una larga línea de mujeresescritoras, si bien no siempre conocidas. En el análisis desu obra, se propone lo visual/lo rítmico/lo impalpable,como tres ejes en la lírica de Blanca Varela. Se constatala tendencia a lo onírico, y la influencia del surrealismo,relacionando estas propensiones con las experienciasde la generación del 50, con su vivencia cercana de dosguerras mundiales. El resultado es la expresión irónica,en voz seca y austera, la desgarradora soledad, la náuseaexistencial. Blanca Varela, una de las figuras más importantesde la poética latinoamericana del siglo XX, empleafiguras literarias como el oxímoron, las aliteraciones, lasmetáforas, con osadía de terrible certeza.Palabras clave: Blanca Varela, poesía peruana, surrealismo,generación del 50The Impalpable in Blanca VarelaAbstract: This essay explores the origin of the creativegenius of the Peruvian poet Blanca Varela, y and herown words as well as the data from other researches areappealed to in order to find the roots of her lyricism in herchildhood word-games and in genealogy: in her family wefind a long line of women writers, although not alwaysknown. In the analysis of her work this essay proposes thevisual / the rhythmic, / the impalpable as three axes in herpoems. There is also trend to the oniric, and the influenceof surrealism. These traits are related to the experience ofthe poetic “Generation of the 50´s”, with their nearnessto two World Wars. The result is ironic expression, a dry,austere voice, the heart-rending solitude, the existentialnausea. Blanca Varela, one of the most important figuresof Latina American poetry in the XX century, uses literaryfigures such as the oxymoron, alliterations, metaphors,with the daring of a terrible certitude.Key Words: Blanca Varela, Peruvian poetry, surrealism,“Generation of the 50’s”
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Bueno, Danilo Rodrigues. "Autoria coletiva em Poesia, de António Maria Lisboa." Revista Desassossego 12, no. 22 (December 29, 2020): 113–35. http://dx.doi.org/10.11606/issn.2175-3180.v12i22p113-135.
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Poesia, obra póstuma de António Maria Lisboa, organizada por Mário Cesariny, reúne parte da produção do poeta, composta por poemas coletivos, cartas abertas e pessoais, desenhos, bilhetes, textos críticos, manifestos, poemas em prosa e em verso. O livro é atravessado pela presença dos poetas surrealistas, ensejando a percepção de uma obra coletiva, preceito fundamental do surrealismo
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Hart, Stephen M. "El cadáver exquisito de César Vallejo." Archivo Vallejo 1, no. 1 (November 29, 2018): 17. http://dx.doi.org/10.34092/av.v1i1.33.
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En este ensayo me propongo arrojar nueva luz sobre la poética vallejiana mediante una interpretación del poema «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...». En la primera parte me enfoco en la relación conflictiva que Vallejo tuvo con el surrealismo, y sobre todo la célebre noción del «cadáver exquisito». Analizo una faceta de la técnica composicional de Vallejo, la cual se puede vislumbrar en cuatro de los primeros borradores «autógrafos» de los Poemas humanos (1938), publicados en la edición Fló-Hart de 2003. Propongo que, en «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...», Vallejo reconoce que la vanguardia —incluyendo el surrealismo— formó parte de su formación artística, pero finalmente el poeta peruano rechaza el «vino muerto» del surrealismo. En la segunda parte de la ponencia evalúo la proyección que, específicamente en Poemas humanos, Vallejo hace de su propio «cadáver exquisito».
ABSTRACTThis paper intends to provide a fresh understanding of Vallejo’s poems through an interpretation of the poem «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...» (‘Oh bottle without wine! Oh wine the widower of this bottle!...’). The first part is focused on the troubled relationship between Vallejo and the surrealism, and particularly in his famous line «cadáver exquisito» (‘exquisite corpse’). The facet of the compositional technique of Vallejo found in four of his ‘autograph’ early drafts of Poemas humanos (‘Human Poems’, 1938) and published in the 2003 by Edition Flo-Hart is also analyzed. It is proposed that, in «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...» Vallejo recognizes that the avant-garde - including surrealism - was part of his artistic training, but finally he rejects the «vino muerto» (‘the dead wine’) of surrealism. The second part of the paper evaluates Vallejo’s projection, specifically in ‘Human Poems’, of his own ‘exquisite corpse’.
Keywords: Cesar Vallejo, surrealism, exquisite corpse, poetic manifesto, Poemas humanos (‘Human Poems’).
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Motornyy, О. "TIME AND SPACE IN IVAN WERNISCH’S POETRY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 198–209. http://dx.doi.org/10.17721/2075-437x.2020.36.16.
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The article examines the poetic world of the modern Czech prose writer, poet, translator from several European languages, a participant in the Prague Spring, whose works have not been printed for a long time and were banned, author of poetry collections “Kam letí nebe” (1961), “Zimohrádek” (1965), “Loutky” (1970), “Doupě latinářů” (1992), “Blbecká poezie” (2002), “Penthesilea” (2019), Ivan Wernisch. The writer has a great creative legacy that dates back to the sixties of the last century. During this long time, he managed to publish about thirty poetry books. Surrealism, interweaving of temporal and spatial indicators, interweaving of poetic and prosaic forms, rich poetic world are typical features of I. Wernisch’s poetry. The article explores the spatio-temporal relations of the Ivan Wernisch’s poetic world, the features of the image of the lyrical hero. Some poetry by Ivan Wernisch was used over time as lyrics of songs by Czech rock bands. The Ivan Wernisch’s son Michal Wernisch (also known as Ewald Murrer) followed his father’s footsteps and today is also known as a poet.
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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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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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Sommerer, Christa, and Laurent Mignonneau. "Living Poetry." Artificial Life 21, no. 3 (August 2015): 313–19. http://dx.doi.org/10.1162/artl_a_00172.
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We introduce three of our interactive artworks that translate text into artificial creatures or creatures into text by means of user interaction. These installations make use of experimental literature, media archaeology, surrealism, artificial life, and algorithmic methods.
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Marićević-Balać, Jelena. "The collection 'Svinja je odličan plivač' (1971) by Miroljub Todorović in the light of Serbo-Polish connections." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 3–17. http://dx.doi.org/10.5937/zrffp51-31847.
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The introductory part of the paper highlights the threefold importance of Miroljub Todorović's poetry collection Svinja je odličan plivač [A Pig Is an Excellent Swimmer] (1971). The success of the book is important for Signalism and the work of Miroljub Todorović, as well as literary reception since a selection of his poetry (2009) and a recent Polish edition (2020) bear the same title. We refer to the image of the pig as in a diary and the poetry and prose in Šatrovački argot, so as to portray the poetic pig motif as complementary with the works of Signalism. Ultimately, we approach the 1971 poetry collection in a comparatist manner, comparing the poetry of Signalism to the poetry of the Polish poetess Ewa Lipska. In relation to being compared to the poetry of Ewa Lipska, the pig becomes a signum of a mankind deprived of love. Further comparison between the poetry book Svinja je odličan plivač and the poetry of the Polish poetess is founded on the similarities and differences in terms of their respective relationship towards machines, surrealism, the eyes motif, children, the concept of time, and the figures of Shakespeare and Socrates.
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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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Markov, Aleksandr V. "EL GRECO IN RUSSIAN POETRY." Vestnik of Kostroma State University, no. 1 (2020): 93–101. http://dx.doi.org/10.34216/1998-0817-2020-26-1-93-101.
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The name El Greco (Doménikos Theotokópoulos) is rarely found in Russian poetry, although French romanticism included him in the canon of world classics. This article assumes that El Greco’s reception in Russian poetry is due not so much to the infl uence of French romanticism or Spanish surrealism as to the stylistic features of the artist himself, who inherited Cretan icon painting, while in his mature period he followed the Renaissance principles of life-like and rivalry. As a result, El Greco is perceived in Russian culture as a classic imitating nature, and stylistic features are then interpreted as existentially signifi cant rather than a strange and bizarre artist. El Greco is then compared with the characters of his paintings, such as the apostles and evangelists, and is considered to be an artist, communicating something existentially signifi cant about fate. His landscape style was then interpreted as the transformation of artistic conventions into ontologically signifi cant constructions. A close reading of poetic texts dedicated to El Greco (Konstantin Balmont, Anna Akhmatova, Yevgeny Yevtushenko, Viktor Krivulin, Bella Akhmadulina, Svetlana Kekova), and taking into account the theoretical statements about El Greco (Alexandre Benois, Dmitry Likhachov) allows us to show that El Greco was not perceived within the framework of expressionism or surrealism, but in the key of icon-painting ontologism. The techniques of El Greco were then understood in Russian poetry as plotsignifi cant: chiaroscuro and colour turned out to be symbols of life’s upheavals, and the mission of the apostle and Orpheus was then identifi ed as a model for a poetic attitude to everyday life.
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Gorelov, Oleg S. "Media as a desire in contemporary poetic production." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2020): 62–69. http://dx.doi.org/10.20339/phs.5-20.062.
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The article analyzes the principles of surrealism shown in the modern media environment and contemporary poetry: the discovery or production of the paradoxality of the surrounding reality; the overcoming the binary nature of subject-object relationships (this may concern the boundary between intimate and social); as well as the working with the concept of desire and its specific realizations. With the example of V. Bannikov’s poetic project, options for representing the media as desires are considered. In particular, digital media, like the art world itself, are not sterile, but bodily, emitting erotic energy. Bannikov’s subject lives in media, letting in “chaos of thickets”, sensuality and imperfection. Constant search (changes of poetic style), constant desire becomes one of the variants of the isomorphism of Bannikov’s poetic text with the media environment. The innovative poetics of contemporary poetry is faced with the demand of the new in media and FoMO syndrome; the satisfaction of this desire remains the only constant. The medial nature of Bannikov’s language machine of desire is also manifested in the interpretation of his poems as recordings of dreams, oneiric reports on the events of the day. Dream poems offer fragmentary recollection and a secondary processing of reality.
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Ferreira Prado, María Cecilia. "Los Cuentos surrealistas de Muñoz Rojas." Revista de Filología de la Universidad de La Laguna, no. 43 (2021): 109–22. http://dx.doi.org/10.25145/j.refiull.2021.43.05.
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There are almost no studies on the Cuentos surrealistas (1979) by José Antonio Muñoz Rojas, author best known for his poetic work in the Spanish post-war period. His stories were mostly written in the 1930s, the time of the rise of Spanish surrealism. The author published them as a whole many years later. Due to its great visuality and humorous trait, the work recalls the carefree and jovial tone of the first avant-garde; however, he moves away from this because of the great depth of thought that Muñoz Rojas expresses in these stories. The objective of this study is to analyze the stories in their context, identify the surreal themes, motifs and techniques, as well as their dominant stylistic features and the posible influences of other authors.
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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