Surrealism Su Alism
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Reviews of Recent Publications
Studies in 20th Century Literature Volume 19 Issue 2 Article 10 6-1-1995 Reviews of recent publications Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, German Language and Literature Commons, Modern Literature Commons, and the Spanish and Portuguese Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation (1995) "Reviews of recent publications," Studies in 20th Century Literature: Vol. 19: Iss. 2, Article 10. https://doi.org/10.4148/2334-4415.1376 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Reviews of recent publications Abstract Adelson, Leslie A. Making Bodies Making History: Feminism and German Identity by Sander L. Gilman Barrat, Barnaby B. Psychoanalysis and the Post-Modern Impulse: Knowing and Being Since Freud's Psychology by Mitchell Greenberg Calinescu, Matei. Rereading by Laurence M. Porter Donahue, Neil H. Forms of Disruption: Abstraction in Modern German Prose by Burton Pike Feminisms of the Belle Epoque, A Historical and Literary Anthology. Jennifer Waelti-Walters and Steven C. Hause, Eds. (Translated by Jette Kjaer, Lydia Willis, and Jennifer Waelti-Walters by Christiane J.P. Makward Hutchinson, Peter. Stefan Heym: The Perpetual Dissident by Susan M. Johnson Julien, Eileen. African Novels and the Question of Orality by Lifongo Vetinde Kristof, Agota. Le Troisième Mensonge by Jane Riles Laronde, Michel. -
Anthology of Black Humour Pdf Free Download
ANTHOLOGY OF BLACK HUMOUR PDF, EPUB, EBOOK Andre Breton,Mark Polizzotti | 356 pages | 01 Feb 2009 | Telegram Books | 9781846590740 | English | London, United Kingdom Anthology of Black Humour PDF Book By signing up, you agree to our Privacy Notice. Redirected from Black humour. From the sublime to the surreal. The term became globally used since then. Forthcoming Books. Rating details. Jacqueline Lamba wife Elisa Breton wife. It came out again in , to almost complete silence - presumably Breton was considered pretty much vieux jeu by then. Popular themes of the genre include death, violence, discrimination , disease , and human sexuality. Literature in Translation. There are more than just the usual suspects here. Andre Breton , the founder and principal theorist of the Surrealist movement, is one of the major literary figures of the past century. Showing City Lights Spotlight. For example:. Want to Read Currently Reading Read. Neruda, Pablo. There are no discussion topics on this book yet. A study published in the journal Cognitive Processing [40] concludes that people who appreciate dark humor "may have higher IQs, show lower aggression, and resist negative feelings more effectively than people who turn up their noses at it. It was reprinted in after Breton's return from exile, with a few additions. J:J Aronson Inc. Anthology of Black Humour Writer Alcalay, Ammiel. An anthology wherein the biographic information provided by Breton tends to be more blackly comic than the selections he includes. Thomas De Quincey. Ryan Garns rated it liked it Nov 26, Charles Cros. Alessandro M. Forthcoming Books. View 2 comments. Comic work based on subject matter that is generally considered taboo. -
Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Art on the Page
Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it. -
Drawing Surrealism Didactics 10.22.12.Pdf
^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included. -
Copyright by Deborah Helen Garfinkle 2003
Copyright by Deborah Helen Garfinkle 2003 The Dissertation Committee for Deborah Helen Garfinkle Certifies that this is the approved version of the following dissertation: Bridging East and West: Czech Surrealism’s Interwar Experiment Committee: _____________________________________ Hana Pichova, Supervisor _____________________________________ Seth Wolitz _____________________________________ Keith Livers _____________________________________ Christopher Long _____________________________________ Richard Shiff _____________________________________ Maria Banerjee Bridging East and West: Czech Surrealism’s Interwar Experiment by Deborah Helen Garfinkle, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 For my parents whose dialectical union made this work possible ACKNOWLEDGEMENTS I would like to express heartfelt thanks to my advisor Hana Pichova from the University of Texas at Austin for her invaluable advice and support during the course of my writing process. I am also indebted to Jiří Brabec from Charles University in Prague whose vast knowledge of Czech Surrealism and extensive personal library provided me with the framework for this study and the materials to accomplish the task. I would also like to thank my generous benefactors: The Texas Chair in Czech Studies at the University of Texas at Austin, The Graduate School of the University of Texas at Austin, The Fulbright Commission and the American Council of Learned Societies without whom I would not have had the financial wherewithal to see this project to its conclusion. And, finally, I am indebted most of all to Maria Němcová Banerjee of Smith College whose intelligence, insight, generosity as a reader and unflagging faith in my ability made my effort much more than an exercise in scholarship; Maria, working with you was a true joy. -
Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3. -
Rosaleen Norton's Contribution to The
ROSALEEN NORTON’S CONTRIBUTION TO THE WESTERN ESOTERIC TRADITION NEVILLE STUART DRURY M.A. (Hons) Macquarie University; B.A. University of Sydney; Dip. Ed. Sydney Teachers College Submission for Degree of Doctor of Philosophy School of Humanities and Social Science University of Newcastle NSW, Australia Date of submission: September 2008 STATEMENT OF ORIGINALITY This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Signed: Date: Neville Stuart Drury ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission for the degree. Signed: Date: Neville Stuart Drury 2 CONTENTS Introduction 5 Chapter One: Rosaleen Norton – A Biographical Overview 16 Chapter Two: Sources of the Western Esoteric Tradition 61 Chapter Three: Aleister Crowley and the Magic of the Left-Hand Path 127 Chapter Four: Rosaleen Norton’s Magical Universe 214 Chapter Five: Rosaleen Norton’s Magical Practice 248 Chapter Six: Rosaleen Norton as a Magical Artist 310 Chapter Seven: Theories and Definitions of Magic 375 Chapter Eight: Rosaleen Norton’s Contribution to the Western Esoteric Tradition 402 Appendix A: Transcript of the interview between Rosaleen Norton and L.J. -
Calder / Miró Constellations
For Immediate Release Calder / Miró Constellations Pace Gallery Acquavella Galleries 32 East 57th Street, New York 18 East 79th Street, New York April 20 – June 30, 2017 April 20 – May 26, 2017 Joint Opening Reception: Wednesday, April 19, 5:30–8 p.m. New York—Pace Gallery and Acquavella Galleries are pleased to announce "Calder / Miró: Constellations," featuring the Constellations series of Alexander Calder and Joan Miró, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists, who at the time the series were created, were separated by the Atlantic during World War II and unable to communicate. Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series—neither of which were actually named "Constellations" by the artists themselves. Calder: Constellations will be on view from April 20 through June 30 at Pace Gallery, 32 East 57th Street, and Miró: Constellations will be on view from April 20 through May 26 at Acquavella Galleries, 18 East 79th Street. A joint opening reception will be held on Wednesday, April 19 from 5:30 to 8 p.m. at both galleries. "This exhibition will be a landmark, both in our history of documenting the achievements of Alexander Calder and in our long and productive relationship with the Acquavella Galleries," says Marc Glimcher. "The two artists tapped into a powerful artistic current, which allowed them to create these unique but resonant series, while they were totally isolated from each other. -
2011 Shelf-Registration Document
welcome ! Shelf-Registration Document 2011 Mercialys – 2011 Shelf-Registration Document 10, rue Cimarosa - 75016 Paris Tél. : +33 01 53 70 23 20 E-mail : [email protected] www.mercialys.com www.mercialys.com Shelf-Registration Document 2011 summary Summary 1. Business review (Financial statements for the year ended December 31, 2011) An excellent year in 2011: robust performance and growth throughout the year . 4 A year during which Mercialys stepped up its value creation strategy further . 4 A year confirming the solidity of Mercialys’s business model . 5 2. Financial report Financial statements . 7 Review of activity in 2011 and lease portfolio structure . 10 Review of consolidated results . 12 Subsequent events . 19 Outlook . 19 Review of the results of the parent Company, Mercialys SA . 20 Subsequent events following the Board of Directors meeting of February 9, 2012 that approved 2011 financial statement . 21 3. Portfolio and Valuation Portfolio valued at Euro 2,640 million at December 31, 2011 . 22 A diversified portfolio of retail assets . 24 Presence in areas with strong growth potential . 25 4. Stock market information Trading volume and share price over the last 18 months (source: Euronext Paris) . 31 Breakdown of share capital and voting rights at January 31, 2012 . 32 Crossing of share ownership thresholds . 32 Share buy‑back program . 33 Shareholders’ agreement . 35 Dividend policy . 36 Communication policy . 37 5. Corporate Governance Board of Directors and Executive Management . 38 Statutory Auditors . 56 Chairman’s Report . 58 Statutory Auditors’ report prepared in accordance with Article L 225. ‑235 of the French Commercial Code (“Code de commerce”), on the report prepared by the Chairman of the Board of Directors of Mercialys . -
Chapter 11 the Critical Reception of René Crevel
Chapter 11 The Critical Reception of René Crevel: The 1920s and Beyond Paul Cooke Born in 1900, Crevel was slightly too young to participate fully in the Dada movement.1 However, while fulfilling his military service in Paris’s Latour-Maubourg barracks, he met a number of young men – including François Baron, Georges Limbour, Max Morise and Roger Vitrac – who shared his interest in Dada’s anarchic spirit. On 14 April 1921 Crevel, Baron, and Vitrac attended the visite-conférence organized by the Dadaists at the Parisian church of Saint-Julien-le- Pauvre. Afterwards the three of them met up with Louis Aragon, one of the organizers of the afternoon’s event. As a result of this meeting the periodical aventure was born, with Crevel named as gérant. Only three issues would appear, with the editorial team splitting in February 1922 over the preparation of the Congrès du Palais (with Vitrac supporting Breton and the organizing committee, while Crevel and the others refused to abandon Tzara). Crevel would again defend Tzara against the proto-Surrealist grouping during the staging of Le Cœur à gaz at the Théâtre Michel in July 1923. At the very start of his career as a writer, therefore, it is clear that Dada was a significant influence for Crevel.2 However, despite siding with Tzara in the summer of 1923, it would not be long before Crevel was reconciled with Breton, with the latter naming him in the 1924 Manifeste as one of those who had “fait acte de SURRÉALISME ABSOLU” (Breton 1988: 328). It is as a Surrealist novelist and essayist that Crevel is remembered in literary history.