Thursday, February 13, 2020

French Avant-Garde Tradition and Surrealism - Critical Theory ...

Symbolism to Surrealism: Dreams, Madness, Insurrection. Checklist and ... “They shut up Sade, the shut up Nietzsche; they shut up Baudelaire. The method ...

Figaro. This text marks the global acceptance of Baudelaire's concept of ... At the end of what may be considered the closure of productive Surrealism, in the.

 “High Modernism”: The Avant-Garde in the Early 20th Century

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Sep 28, 2017 - Surrealism has its roots in the French Symbolist poets of the late nineteenth century: Rimbaud, Lautréamont, Baudelaire, Paul Valéry, Stéphane ...
... Bosch and James Ensor and from the writings of Charles Baudelaire, Arthur ... The Surrealist movement was from the beginning in a constant state of change ...


FROM ROUTLEDGE HISTORY OF MODERN FRENCH THOUGHT
SURREALISM 

Surrealism was a literary and artistic movement originating in Paris in the early 1920s. It rejected social, moral, and logical conventions and sought to revolutionize art, literature, and life in the name of freedom, desire, and revolt. It emerged from the social upheaval of post–First World War Europe (the term was invented by Apollinaire in 1917) and more especially from Dadaism, founded in Zurich in 1915, which rejected traditional Western values and promoted the irrational and the absurd through a series of “antiartistic” events based on provocation and profanation. In 1922, a group around Breton broke with the negative tactics of Dada, whose scandals were running the risk of becoming institutionalized, in order to explore a positive form of revolt. The year 1924 marked the official launch of the movement, with Aragon’s Une vague de reˆves (A Wave of Dreams) that charts the activities of the group, Breton’s first Manifeste du surre´alisme 612 0160$$000S 11-26-03 13:31:36 (First Manifesto of Surrealism) that defines its philosophical principles, and the launch of the surrealist journal La Re´volution surre´aliste (The Surrealist Revolution). Combining Rimbaud’s injunction to “Change life,” Marx’s “Transform the world,” and the Marquis de Sade’s libertarian ethos, the surrealists sought the liberation of the individual and the transformation of society. They were active in the fields of art, literature, film, philosophy, and politics. Above all, however, they formed “a community of ethical views” (Toyen). The mostly male group was made up of writers (Aragon, Artaud, Cahun, Desnos, Eluard, Pe´ret, Soupault, and others) and artists (including Dali, Ernst, Magritte, Malkine, Miro´, later Dominguez, Matta, Paalen), although its membership fluctuated with ideological and personal conflicts and crises, leading to defections and exclusions, as well as new directions for the group. In the 1930s it gained an international dimension with groups in countries such as Belgium (Magritte, Delvaux), Czechoslovakia (Styrsky, Toyen), Egypt (Henein), England (Nash, Penrose), Latin America (Paz), Martinique (Ce´saire), and Yugoslavia (Ristich). The “heroic period” (Nadeau) of surrealism lasted until 1940, when several of its members, including Breton, went into exile to escape occupied France, although surrealist activities continued during the war years in New York, Mexico, and Paris. The group was reformed after 1945 with a new generation of members (including Be´douin, Mansour, Pierre, and Schuster). Following Breton’s death in 1966, the group was “auto-dissolved” in 1969. Surrealist groups continue to be active, however, in cities like Paris, Prague, Sao Paulo, and Chicago. From the outset the surrealists stressed the experimental and scientific character of their activities. They set up a “Bureau des recherches surre´alistes,” run by Artaud, and researched the unconscious (automatism, hypnosis, dream) in order to explore the “real functioning of the mind” (Breton). The journal La Re´volution surre´aliste (1924–1929), edited by Artaud then Breton, published collective texts, poems, surveys (on suicide, sexuality), as well as drawings, photographs, and paintings.....READ ON


The Permanent Rebellion of Nicolas Calas: The Trotskyist Time Forgot 
Alan Wald
Against the Current; Detroit Vol. 33, Iss. 4, (Sep/Oct 2018): 27-35.

 Abstract 
Foyers d'incendie, which has never been fully translated into English, involves a reworking of Freud's idea of the pleasure principle (behavior directed toward immediate satisfaction of instinctual drives and reduction of pain) to include a desire to change the future. [...] rather than following Freud in accepting civilization as necessary repression, Calas was adamant in posing a revolutionary alternative: "Since desire cannot simply do as it pleases, it is forced to adopt an attitude toward reality, and to this end it must either try to submit to as many of the demands of its environment as possible, or try to transform as far as possible everything in its environment which seems contrary to its desires. According to Schapiro, Breton chose van Heijenoort and Calas to defend dialectical materialism, while Schapiro arranged for Columbia philosopher of science Ernest Nagel and British logical positivist A. J. Ayer (then working for the British government on assignment in the United States) to raise objections. Exponents such as Larry Rivers, Robert Rauschenberg and Jasper Johns often drew on advertising, comic books and mundane cultural objects to convey an irony accentuating the banal aspects of United States culture. Since Pop Art used a style that was hard-edged and representational, it has been interpreted as a reaction against Abstract Expressionism, the post-World War II anti-figurative aesthetic that emphasizes spontaneous brush strokes or the dripping and splattering of paint. [...]the connection was suggested in the late 1960s by Vivian Gornick's "Pop Goes Homosexual": "It is the homosexual temperament which is guiding the progress of Pop Art." 
fi
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 ...

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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.