Thursday, February 13, 2020

tween surrealism and photography are established within historical surrealism. ... logic of Baudelaire's metaphors foreshadows surrealism and takes root in a ...

remained all his life the principal generator of the surrealist movement, declared ... ment dreamed of by Baudelaire and Rimbaud, paralleled as yet in no other ...

CHAPTER 7


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1923
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the expatriate Surrealist community in New York in the thirties and early forties 

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1913

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1919
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The Return of the Surreal: Towards a Poetic and Playful Sociology 
Victoria Foster
Edge Hill University, UK
DOI: http://dx.doi.org/10.18778/1733-8077.15.1.07

Abstract

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.




A World where Action is the Sister of Dream”: 
Surrealism and Anti‐capitalism in Contemporary Paris
Jill Fenton
First published:16 November 2004 https://doi.org/10.1111/j.1467-8330.2004.00462.x 
Abstract
In discussing the lifestyle and practices of the Paris group of the contemporary surrealist movement, this paper contributes to debates within economic and political geography that seek to develop the imagining of alternatives to neoliberal globalisation through practices of resistance, and spaces of political and policy engagement. The everyday life of the surrealist movement, in combining creativity with progressive choices and radical economic practices that oppose capitalism, while intellectually investigating ideas of revolution, a different society and utopia, suggests a perspective that contributes to the imagining of such alternatives. This paper outlines the deeply embedded nature of surrealist activity in opposing capitalism and illustrates, as one member of the surrealist group suggests, in quoting Baudelaire, surrealism's insistence for a world in which “action is the sister of dream”. The paper further contributes to discussion on the role of academics in facilitating spaces of political engagement.


 Tessel M. Bauduin t.bauduin@let.ru.nl
 2015
Abstract 
In the 1924 Manifesto of Surrealism surrealist leader André Breton (1896-1966) defined Surrealism as ‘psychic automatism in its pure state,’ positioning ‘psychic automatism’ as both a concept and a technique. This definition followed upon an intense period of experimentation with various forms of automatism among the proto-surrealist group; predominantly automatic writing, but also induced dream states. This article explores how surrealist ‘psychic automatism’ functioned as a mechanism for communication, or the expression of thought as directly as possible through the unconscious, in the first two decades of Surrealism. It touches upon automatic writing, hysteria as an automatic bodily performance of the unconscious, dreaming and the experimentation with induced dream states, and automatic drawing and other visual arts-techniques that could be executed more or less automatically as well. For all that the surrealists reinvented automatism for their own poetic, artistic and revolutionary aims, the automatic techniques were primarily drawn from contemporary Spiritualism, psychical research and experimentation with mediums, and the article teases out the connections to mediumistic automatism. It is demonstrated how the surrealists effectively and successfully divested automatism of all things spiritual. It furthermore becomes clear that despite various mishaps, automatism in many forms was a very successful creative technique within Surrealism. 

Exquisite Corpses: Representations olectivf Violence in the Cole Surrealiist Unconscous
Megan C. McShane is a doctoral candidate in Art History at Emory University.
This paper will address the collective method for producing drawings and collages employed by the Surrealists, known as the cadavre exquis or exquisite corpse. In 1925 the Surrealists began playing the exquisite corpse game using words to produce fantastic sentences. The game was quickly adapted to produce strange and unexpected figural images. Playing the game entailed passing a sheet of paper among participants while folding the paper in order to conceal the previous person's response. Each person would contribute a part of the sentence or,if drawing, a partial image of a body. In the linguistic method, the players followed the approximate syntactical sequence of subject, verb, and predicate. In the visual method, the image of a body was substituted for the sentence. Andre Breton cites the elemental segments to be supplied by each person: "subject,verb, or predicate adjective—head, belly, or legs" {hkmifestos1 79). The first sentence produced provided the unusual name for the game: "The exquisite / corpse / will drink / the young / wine" [Le-cadavre-exquis-boira-le-vin-nouveau] 

Fantastic Art, Dada and Surrealism is the second of a series of exhibitions planned to present in ... by the Dada—Surrealist movement of the past twenty years together with cer tain of its pioneers. ... De Baudelaire au surrealisme. Paris, Corr

by SC Bett - ‎1976 - ‎Related articles
This thesis attempts to locate and unravel the poetics of Surrealism. The ... the "•'lavers" of Baudelaire and the "wild minutes" of Mi--and allws the. m m t of his ...
Surrealism, is produced by the difference in intellectual level between France ... descent from Mickiewicz, Milton, Southey, Alfred de Musset, Baudelaire, and.


Waiter Benjamin and surrealism The story of a revolutionary spell 
Michael Lowy  Radical Philosophy 80 (Nov/Dec 1996) 


Surreal Dreamscapes: Walter Benjamin and the Arcades 
Michael Calderbank  BOOK PDF
 Abstract 
This article examines Benjamin’s theoretical writings on the dream as a crucial aspect of his engagement with Surrealism. Given his ambivalence towards Surrealism’s potential for mystical thinking, it addresses Benjamin’s encounter in the Arcades Project with the work of Louis Aragon, and its resonances with the writings of vitalist philosopher Ludwig Klages, whom Benjamin had known in his youth. The article traces the ways in which Benjamin’s dream theory formed part of his understanding of the revolutionary project of Surrealism, only to lose its critical force in his later 1930s work, and it suggests ways in which Benjamin might have developed this project more successfully. Sometimes, on awakening we recall a dream. In this way rare shafts of insight illuminate the ruins of our energies that time has passed by. These lines are typically Benjaminian. In a sense, they might stand as a brief exposition of a critical insight to which he would attempt to give concretion in the Arcades Project. However, they are taken not from Benjamin’s mature work, but rather, from the unpublished early text ‘The Metaphysics of Youth,’1 written in 1914. Appropriately, Benjamin (above all writers) is stubbornly resistant to any smooth, teleologically-driven linear chronology of intellectual development. Likewise, Susan BuckMorss uses the analogy, again peculiarly apposite in Benjamin’s case, of ‘development’ in the sense of photography: ‘Time deepens definition and contrast, but the imprint of the image has been there from the start.’ 2 Hence, I ought to qualify at the outset the sense in which it is possible to speak of Benjamin’s interest in the dream as a ‘legacy’ from Surrealism. The nature of this relationship is not akin to a printer leaving an impression on a passive surface, as though Benjamin uncritically assimilated a series of previously alien positions. 
A CAVALIER HISTORY OFSURREALISM 
BOOK PDF
 by Jules-Francois Dupuis (Raoul Vaneigem] 
Translated by Donald Nicholson-Smith

Susan LaxtonSURREALISMAT PLAY BOOK PDF




Lost Profiles
Memoirs of Cubism, Dada, and Surrealism

Philippe Soupault
Translated by Alan Bernheimer
Foreword by Mark Polizzotti
Afterword by Ron Padgett
Paperback - $13.95 $9.77 Save $4.18 (30%)
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A literary retrospective of a crucial period in modernism—the transition from Dada to Surrealism––via portraits and encounters with its literary lions, including Joyce, Proust, Reverdy, Apollinaire, Crevel and more by the co-founder of the Paris surrealist group.

Poet Alan Bernheimer provides a long overdue English translation of this French literary classic—Lost Profiles is a retrospective of a crucial period in modernism, written by co-founder of the Surrealist Movement. Opening with a reminiscence of the international Dada movement in the late 1910s and its transformation into the beginnings of surrealism, Lost Profiles then proceeds to usher its readers into encounters with a variety of literary lions. We meet an elegant Marcel Proust, renting five adjoining rooms at an expensive hotel to "contain" the silence needed to produce Remembrance of Things Past; an exhausted James Joyce putting himself through grueling translation sessions for Finnegans Wake; and an enigmatic Apollinaire in search of the ultimate objet trouvé. Soupault sketches lively portraits of surrealist precursors like Pierre Reverdy and Blaise Cendrars, a moving account of his tragic fellow surrealist René Crevel, and the story of his unlikely friendship with right-wing anti-Vichy critic George Bernanos. The collection ends with essays on two modernist forerunners, Charles Baudelaire and Henri Rousseau. With an afterword by Ron Padgett recounting his meeting with Soupault in the mid 70's and a preface by André Breton biographer Mark Polizzotti, Lost Profiles confirms Soupault's place in the vanguard of twentieth-century literature.

Praise for Lost Profiles:

"The gentlest of renegades, the most tender of the French avant-garde poets, the co-author of the first literary work of automatic writing (The Magnetic Fields, 1919), Philippe Soupault was a central figure in both the Dada and Surrealist movements but throughout his long life walked under no banner except the one of artistic freedom. In this previously untranslated book, he gives us a collection of richly remembered portraits of some of his best-loved friends from the old days of the new modernism. A young disciple of the short-lived Apollinaire, the translator of Joyce's Anna Livia Plurabelle, the son of one of Proust's jeunes filles en fleurs, Soupault crossed paths with nearly everyone from that time whose name is still remembered today. As a glimpse into that time, these lost portraits are invaluable––and often deeply moving. The chapter about Proust alone is worth the price of admission, and then there is more, much more packed into the pages of this small, indelible book. Bravo to Alan Bernheimer for having given it to us."––Paul Auster, author of Report from the Interior

"Poets must encourage each other because time is indifferent to the lives that flow through it. Time is what we are made of, but we are a rare school of fish that can see, in Rimbaud's sense, the substance that everyone disregards even as it dissolves them. We have to be young because we are the only force that can slow time down to reveal the beauty of its devastation. Reading Alan Bernheimer's splendid translation of Soupault's memoir, I forgot that it was a translation, that it was Soupault writing or talking about another time, about his friends of one century past. I read myself into these vivid and virile (so, sue me!) assaults on time, and Time stopped."––Andrei Codrescu, author of The Posthuman Dada Guide: Tzara and Lenin Play Chess

"Philippe Soupault was present at the creation of both Dada and Surrealism—collaborating with André Breton to produce The Magnetic Fields, the first book of automatic writing—before going his own way as a poet, novelist, and journalist. In this present volume, Soupault's fierce independence, deep wit, and generous heart shine through a set of sharply observed portraits of European writers—fellow geniuses, most of them known to him personally. Alan Bernheimer's fine translation allows Soupault's vibrant voice to come to life in our time, and to reanimate in turn some of the greatest spirits of the past century's literature—a marvelous and much-needed apparition."––Andrew Joron, author of Trance Archive: New and Selected Poems

"In this dazzling book—adroitly, smoothly & accurately translated by poet Alan Bernheimer—poet & co-founder of Surrealism Philippe Soupault trains his great secret eye & ear to auscultate an astounding range of core 20th century literary figures he knew personally. And does so with serenity, humor & profound insight. Like none of the academic histories covering this period, no matter how well written and documented, this book makes you say as you devour it: 'Wish I had been there.' Enough said, I'm going to call René Crevel right now."––Pierre Joris, author of Barzakh: Poems 2000-2012

Philippe Soupault (1897-1990) served in the French army during WWI and subsequently joined the Dada movement. In 1919, he collaborated with André Breton on the automatic text Les Champs magnétiques, launching the surrealist movement. In the years that followed, he wrote novels and journalism, directed Radio Tunis in Tunisia, and worked for UNESC

MANIFESTOS OF SURREALISM ANDRE BRETON

Andre Breton - Monoskop THE MANIFESTOS OF SURREALISM 1929 -1940
https://monoskop.org › images › Breton_Andre_Manifestoes_of_Surrealism
Baudelaire is Surrealist in morality. Rimbaud is Surrealist in the way he lived, and elsewhere. Mallarme is Surreal ist when he is confiding. Jarry is Surrealist in ...

[PDF] Manifesto of Surrealism - The exquisite corpse 1924 FIRST MANIFESTO
by A BRETON - ‎Cited by 717 - ‎Related articles
MANIFESTO. OF. SURREALISM ... SURREALISM in the very special sense that we understand it are being ... Baudelaire is Surrealist in morality. Rimbaud is ..

NEW TRANSLATION 2010
[PDF]
First Manifesto of Surrealism - 1924 - Kristine Door
by A Breton - ‎
Secrets of the Magical Surrealist Art. - Written surrealist composition, or first and last draft. - How not to be bored ... Baudelaire is surrealist in morality. Rimbaud is ...

The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism 

Bauduin, T.M.

Rad America V4 I1.pdf - Libcom
SPECIAL ISSUE ON SURREALISM
André BRETON: Preface to the International Surrealist Exhibition ... 27 Vincent BOUNOURE: Surrealism and the Savage Heart ... herited from Baudelaire:.


A burst of laughter
of sapphire in the island of Ceylon
The most beautiful straws
HAVE A FADED COLOR
UNDER THE LOCKS
on an isolated farm
FROM DAY TO DAY
the pleasant
grows worse
coffee
preaches for its saint
THE DAILY ARTISAN OF YOUR BEAUTY
MADAM,
a pair
of silk stockings
is not
A leap into space
A STAG
Love above all
Everything could be worked out so well
PARIS IS A BIG VILLAGE
Watch out for
the fire that covers
THE PRAYER
of fair weather
Know that
The ultraviolet rays
have finished their task
short and sweet
THE FIRST WHITE PAPER
OF CHANCE
Red will be
The wandering singer
WHERE IS HE?
in memory
in his house
AT THE SUITORS’ BALL
I do
as I dance

What people did, what they’re going to do

What is Surrealism?

Lecture delivered in Brussels by André Breton on the 1st June 1934






Comrades:
The activity of our surrealist comrades in Belgium is closely allied with our own activity, and I am happy to be in their company this evening. Magritte, Mesens, Nougé, Scutenaire and Souris are among those whose revolutionary will—outside of all consideration of their agreement or disagreement with us on particular points—has been for us in Paris a constant reason for thinking that the surrealist project, beyond the limitations of space and time, can contribute to the efficacious reunification of all those who do not despair of the transformation of the world and who wish this transformation to be as radical as possible.
At the beginning of the war of 1870 (he was to die four months later, aged twenty-four), the author of the Chants de Maldoror and of Poésies, Isidore Ducasse, better known by the name of Comte de Lautréamont, whose thought has been of the very greatest help and encouragement to myself and my friends throughout the fifteen years during which we have succeeded in carrying a common activity, made the following remark, among many others which were to electrify us fifty years later: "At the hour in which I write, new tremors are running through the intellectual atmosphere; it is only a matter of having the courage to face them."
1868-75: it is impossible, looking back upon the past, to perceive an epoch so poetically rich, so victorious, so revolutionary and so charged with distant meaning as that which stretches from the separate publication of the Premier Chant de Maldoror to the insertion in a letter to Ernest Delahaye of Rimbaud's last poem, Rêve, which has not so far been included in his Complete Works. It is not an idle hope to wish to see the works of Lautréamont and Rimbaud restored to their correct historical background: the coming and the immediate results of the war of 1870. Other and analogous cataclysms could not have failed to rise out of that military and social cataclysm whose final episode was to be the atrocious crushing of the Paris Commune; the last in date caught many of us at the very age when Lautréamont and Rimbaud found themselves thrown into the preceding one, and by way of revenge has had as its consequence—and this is the new and important
fact—the triumph of the Bolshevik Revolution.
I should say that to people socially and politically uneducated as we then were—we who, on one hand, came for the most part from the petite-bourgeoisie, and on the other, were all by vocation possessed with the desire to intervene upon the artistic plane—the days of October, which only the passing of the years and the subsequent appearance of a large number of works within the reach of all were fully to illumine, could not there and then have appeared to turn so decisive a page in history. We were, I repeat, ill-prepared and ill-informed.

Above all, we were exclusively preoccupied with a campaign of systematic refusal, exasperated by the conditions under which, in such an age, we were forced to live. But our refusal did not stop there; it was insatiable and knew no bounds. Apart from the incredible stupidity of the arguments which attempted to legitimize our participation in an enterprise such as the war, whose issue left us completely indifferent, this refusal was directed—and having been brought up in such a school, we are not capable of changing so much that is no longer so directed—against the whole series of intellectual, moral and social obligations that continually and from all sides weigh down upon man and crush him. Intellectually, it was vulgar rationalism and chop logic that more than anything else formed the causes of our horror and our destructive impulse; morally, it was all duties: religious, civic and of the family; socially, it was work (did not Rimbaud say: "Jamais je ne travaillerai, ô flots de feu!" and also: "La main à plume vaut la main à charrue. Quel siècle à mains! Je n'aurai jamais ma main!" [Never will I work, O torrents of flame! The hand that writes is worth the hand that ploughs! What a century of hands! I will never lift my hand!]).
The more I think about it, the more certain I become that nothing was to our minds worth saving, unless it was... unless it was, at last "l'amour la poésie," to take the bright and trembling title of one of Paul Eluard's books, "l'amour la poésie," considered as inseparable in their essence and as the sole good. Between the negation of this good, a negation brought to its climax by the war, and its full and total affirmation ("Poetry should be made by all, not one"), the field was not, to our minds, open to anything but a Revolution truly extended into all domains, improbably radical, to the highest degree impractical and tragically destroying within itself the whole time the feeling that it brought with it both of desirability and of absurdity.
Many of you, no doubt, would put this down to a certain youthful exaltation and to the general savagery of the time; I must, however, insist on this attitude, common to particular men and manifesting itself at periods nearly half a century distant from one another. I should affirm that in ignorance of this attitude one can form no idea of what surrealism really stands for. This attitude alone can account, and very sufficiently at that, for all the excesses that may be attributed to us but which cannot be deplored unless one gratuitously supposes that we could have started from any other point. The ill-sounding remarks, that are imputed to us, the so-called inconsiderate attacks, the insults, the quarrels, the scandals—all things that we are so much reproached with—turned up on the same road as the surrealist poems. From the very beginning, the surrealist attitude has had that in common with Lautréamont and Rimbaud which once and for all binds our lot to theirs, and that is wartime defeatism.
I am not afraid to say that this defeatism seems to be more relevant than ever. "New tremors are running through the intellectual atmosphere; it is only a matter of having the courage to face them." They are, in fact, always running through the intellectual atmosphere: the problem of their propagation and interpretation remains the same and, as far as we are concerned, remains to be solved. But, paraphrasing Lautréamont, I cannot refrain from adding that at the hour in which I speak, old and mortal shivers are trying to substitute themselves for those which are the very shivers of knowledge and of life. They come to announce a frightful disease, a disease followed by the deprivation of all rights; it is only a matter of having the courage to face them also. This disease is called fascism.
Let us be careful today not to underestimate the peril: the shadow has greatly advanced over Europe recently. Hitler, Dolfuss and Mussolini have either drowned in blood or subjected to corporal humiliation everything that formed the effort of generations straining towards a more tolerable and more worthy form of existence. The other day I noticed on the front page of a Paris newspaper a photograph of the surroundings of the Lambrechies mine on the day after the catastrophe. This photograph illustrated an article titled, in quotation marks, 'Only Our Chagrin Remains'. On the same page was another photograph—this one of the unemployed of your country standing in front of a hovel in the Parisian 'poor zone'—with the caption Poverty is not a crime. "How delightful!" I said to myself, glancing from one picture to the other. Thus the bourgeois public in France is able to console itself with the knowledge that the miners of your country were not necessarily criminals just because they got themselves killed for 35 francs a day. And doubtless the miners, our comrades, will be happy to learn that the committee of the Belgian Coal Association intends to postpone till the day after tomorrow the application of the wage cut set for 20 May. In capitalist society, hypocrisy and cynicism have now lost all sense of proportion and are becoming more outrageous every day. Without making exaggerated sacrifices to humanitarianism, which always involves impossible reconciliations and truces to the advantage of the stronger, I should say that in this atmosphere, thought cannot consider the exterior world without an immediate shudder. Everything we know about fascism shows that it is precisely the confirmation of this state of affairs, aggravated to its furthest point by the lasting resignation that it seeks to obtain from those who suffer. Is not the evident role of fascism to re-establish for the time being the tottering supremacy of finance-capital? Such a role is of itself sufficient to make it worthy of all our hatred; we continue to consider this feigned resignation as one of the greatest evils that can possibly be inflicted upon beings of our kind, and those who would inflict it deserve, in our opinion, to be beaten like dogs. Yet it is impossible to conceal the fact that this immense danger is there, lurking at our doors, that it has made its appearance within our walls, and that it would be pure byzantinism to dispute too long, as in Germany, over the choice of the barrier to be set up against it, when all the while, under several aspects, it is creeping nearer and nearer to us.
During the course of taking various steps with a view to contributing, in so far as I am capable, to the organization in Paris of the anti-fascist struggle, I have noticed that already a certain doubt has crept into the intellectual circles of the left as to the possibility of successfully combating fascism, a doubt which has unfortunately infected even those elements whom one might have thought it possible to rely on and who had come to the fore in this struggle. Some of them have even begun to make excuses for the loss of the battle already. Such dispositions seem to me to be so dismaying that I should not care to be speaking here without first having made clear my position in relation to them, or without anticipating a whole series of remarks that are to follow, affirming that today, more than ever before, the liberation of the mind, demands as primary condition, in the opinion of the surrealists, the express aim of surrealism, the liberation of man, which implies that we must struggle with our fetters with all the energy of despair; that today more than ever before the surrealists entirely rely for the bringing about of the liberation of man upon the proletarian Revolution.
I now feel free to turn to the object of this pamphlet, which is to attempt to explain what surrealism is. A certain immediate ambiguity contained in the word surrealism, is, in fact, capable of leading one to suppose that it designates I know not what transcendental attitude, while, on the contrary it expresses—and always has expressed for us—a desire to deepen the foundations of the real, to bring about an even clearer and at the same time ever more passionate consciousness of the world perceived by the senses. The whole evolution of surrealism, from its origins to the present day, which I am about to retrace, shows that our unceasing wish, growing more and more urgent from day to day, has been at all costs to avoid considering a system of thought as a refuge, to pursue our investigations with eyes wide open to their outside consequences, and to assure ourselves that the results of these investigations would be capable of facing the breath of the street. At the limits, for many years past—or more exactly, since the conclusion of what one may term the purely intuitive epoch of surrealism (1919-25)—at the limits, I say, we have attempted to present interior reality and exterior reality as two elements in process of unification, or finally becoming one. This final unification is the supreme aim of surrealism: interior reality and exterior reality being, in the present form of society, in contradiction (and in this contradiction we see the very cause of man's unhappiness, but also the source of his movement), we have assigned to ourselves the task of confronting these two realities with one another on every possible occasion, of refusing to allow the preeminence of the one over the other, yet not of acting on the one and on the other both at once, for that would be to suppose that they are less apart from one another than they are (and I believe that those who pretend that they are acting on both simultaneously are either deceiving us or are a prey to a disquieting illusion); of acting on these two realities not both at once, then, but one after the other, in a systematic manner, allowing us to observe their reciprocal attraction and interpenetration and to give to this interplay of forces all the extension necessary for the trend of these two adjoining realities to become one and the same thing.
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