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The Authenticity of Ambiguity: Dada and Existentialism

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The Authenticity of Ambiguity: Dada and Existentialism THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. The five chapters analyse a range of Dada work through a lens of Existentialist literary and theoretical works across the themes of choice, alienation, responsibility, freedom and truth. These themes contribute to the overarching claim of the thesis that Dada and Existentialism both advocate the creation of a self that aims for authenticity through ambiguity. iii iv To my teachers, in all of their guises. v vi - ACKNOWLEDGEMENTS - I would like to thank the AHRC for generously funding my PhD, as well as my earlier postgraduate study. The support of the association has provided the basis for a postgraduate experience filled with resources and academic opportunities, for which I am incredibly grateful. I would like to congratulate my supervisor, Dr Stephen Forcer, for having put up with me for almost a decade, and thank him for his indefatiguable support during my journey through higher education. I am also grateful to the French Department for providing me with books, students, and a stimulating academic environment in which to work. My thanks and sympathies go to my parents for their moral support throughout my studies, for their willingness to be test subjects for my teaching, writing, and ideas in general. Thank you more fundamentally for instilling my incurable appetite for learning in the first place. Finally I wish to thank my husband Garfield, who has been a constant source of love and encouragement every step of the way. Publications from this thesis: Chapter One is published in part as ‘Designing Identity: Sophie Taeuber, Dada, and the (Re)Construction of the Fragmented Self’, in Desearch, issue 3 (2013). Chapter Two is published in part and in altered form as ‘The Sound(track) of Silence: Hearing Things in Dada Film’, in HARTS & Minds, vol. 1.4 (Spring 2014). vii viii - TABLE OF CONTENTS - Page - Introduction - 1 ‘Je me révolte, donc nous sommes’ ‘Dada and Existentialism’ 1 Dada through Existentialism: Structuring the Thesis 5 Common Ground 15 Limitations and Boundaries 17 Situating the Thesis 24 The Ambiguity of Authenticity 31 - Chapter One - 35 Me, Myself and I: Choice and Individuality in the Many Masks of Dada Art in Society, Art and Life 35 Portraits and Playthings: Constructing the Dada Head 43 Puppet, Poupée, Puppen: Manipulating the Human Figure 54 Fabric Faces and Musical Mimesis: Performing the Mask 65 Conclusion 76 - Chapter Two - 93 ‘How am I not myself?’ Alienation and Reality in Dada Film Tempor(e)ality and Alienation 93 Filtering Reality 96 Emerging Realities: Dreams and (Mis-)Remembering 105 Merging Realities: The Superimposition of Time and Space 119 Coexisting Realities: Tactility and the Sound of Silence 127 Conclusion 135 - Chapter Three - 139 Barrès vs Meursault: Responsibility and Justice in the Dada Literary Event ‘L’homme est pleinement responsable’ 139 Against Without For the Accused 143 ‘Attentat à la sûreté de l’esprit’ 148 The Witnesses 158 Systematic Societies and Individual Ethics 171 Conclusion 175 ix - Chapter Four - 181 Censorship and Freedom: ‘Comment je suis devenu charmant, sympathique et délicieux’ Freedom and Exile 183 (Always al)Readymades and Objets (re)trouvés 188 (Anti-)Altercations with Authority 203 What’s New About Neo-Dada? 211 Conclusion 221 - Chapter Five - 233 Truth and Travesties: The Telling and Retelling of Dada (Hi)Stories Truth and Lies, Faith and Disguise 238 Memoirs of (a) Dada, or, the Importance of Being…Tzara 243 Diaries and Journals: Documenting the Self 255 Manifestos, Morals and Mindsets 264 Conclusion 270 - Conclusion - 277 ‘Essayons d’assumer notre fondamentale ambiguïté’ Dada and Existentialism: A Compatible Comparison? 281 Contribution to the Field and Areas for Futher Research 292 The Authenticity of Ambiguity 296 - Bibliography - 301 x - LIST OF ILLUSTRATIONS - Figure Page 1 Dada-Kopf (Portrait of Hans Arp) 82 Sophie Taeuber, 1918 2 Dada-Kopf 82 Sophie Taeuber, 1920 3 Assemblage on a Hand Mirror 83 Kurt Schwitters, 1920/1922 4 Mechanischer Kopf (Der Geist unserer Zeit) 84 Raoul Hausmann, 1919 5 Hugo Ball Reciting his Sound Poem 85 1916 6-13 König Hirsch Puppets 86-87 Sophie Taeuber, 1918 14 Dada Puppen 88 Hannah Höch, 1916 15 Masked Dada Dancer 89 Costume by Marcel Janco and Jean/Hans Arp, 1916 16 Sophie Taeuber and Erika Schlegel Wearing ‘Hopi Indian’ Costumes 90 Costumes by Sophie Taeuber, 1918-1920 17-18 Self-Portrait with Dada Kopf: 1, 2 91 Sophie Taeuber, 1920, 1926 19-20 Noire et blanche: 1, 2 92 Man Ray, 1926 21 Fountain 226 Marcel Duchamp, 1917 xi 22 Cadeau 227 Man Ray, 1921 23 Indestructible Object (or Object to be Destroyed) 228 Man Ray, 1923 24 Merzbild 1A Der Irrenarzt 229 Kurt Schwitters, 1919 25 Erased de Kooning Drawing 230 Robert Rauschenberg, 1953 26 I Can See the Whole Room…and there’s Nobody in It! 231 Roy Lichtenstein, 1961 27 Étant donnés 232 Marcel Duchamp, 1946-1966 28 The Surgeon and the Photographer 300 Geoffrey Farmer, 2009-2013 All images reproduced in this thesis are done so under the assumption of fair use, for educational, non-commercial purposes. xii - LIST OF ABBREVIATIONS AND CONVENTIONS - For reasons of space as well as ease of identification, several frequently occurring core primary texts will be abbreviated as follows: AA Dada Art and Anti-Art, Hans Richter. First published 1964 (German). AB L’Affaire Barrès, Marguerite Bonnet. 1987 collated text of 1921 Barrès trial. D Dada, 1917-1921, Zurich and Paris. References followed by issue number. DE ‘Dada and Existentialism’, Richard Huelsenbeck, essay first published in Willy Verkauf, Dada: Monograph of a Movement (1957). Here cited from Memoirs of a Dada Drummer (1974 [1969]). E L’Étranger, Albert Camus. First published 1942. EH L’Existentialisme est un humanisme, Jean-Paul Sartre. First published 1946. EN L’Être et le néant: Essai d’ontologie phénoménologique, Sartre. First published 1943. FT Flight out of Time: A Dada Diary, Hugo Ball. First published 1927 (German). HC Huis Clos, Sartre. First published 1947. HR L’Homme révolté, Camus. First published 1951. L Littérature, 1919-1924, Paris. References followed by issue number. MA Pour une morale de l’ambiguïté, Simone de Beauvoir. First published 1947. MS Le Mythe de Sisyphe, Camus. First published 1942. N La Nausée, Sartre. First published 1938. P La Peste, Camus. First published 1947. PP Phénoménologie de la perception, Maurice Merleau-Ponty. First published 1945. T Travesties, Tom Stoppard. First performed 10 June 1974. ZC ‘Zurich Chronicle’, Tristan Tzara, first published in Richard Huelsenbeck, Dada Almanach (1920) (French). Wherever possible, art works will be referred to in the language of their original titles. Where originals are not in English or French, translations will be provided in brackets. xiii xiv - INTRODUCTION - ‘JE ME REVOLTE, DONC NOUS SOMMES’ Dada, in other words, is but one symptom in the great spiritual revolt of our time. It may be called the existential revolt, for all its elements can be understood through human existence, by means of psychology. (DE: 146) More and more people are going to psychoanalysts, because they doubt the meaning and value of life, because they live in an ‘existential vacuum’. (AA: 204) ‘Dada and Existentialism’ When Richard Huelsenbeck posited Dada as an Existentialist phenomenon in 1957, he expressed a feeling that had been relatively unexplored critically but that had existed as an undercurrent in the movement since its beginnings: Dada not only had philosophical content, but also could be used constructively as both a commentary on, and a positive, productive analysis of, the human condition. A movement that appeared to proclaim loudly the death of all values, Dada advocated revolt beyond simple nihilism. The Dada rebel, like Albert Camus’s rebel, is ‘[u]n homme qui dit non’, but ‘s’il refuse, il ne renonce pas: c’est aussi un homme qui dit oui, dès son premier mouvement’ (HR: 27). Like Camus’s delineation of the rebel, Huelsenbeck underlines that ‘[t]he fact that the Dadaists said no was less important than the manner in which they said it’ (DE: 144). Huelsenbeck’s essay presents Dada, post facto, as a self-aware movement that increasingly drew near (in retrospect) to French Existentialism, stating that ‘[i]t was that absolute audacity which brought Dadaism so close to existentialism in those days’ (DE: 145).
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