DOCSLIB.ORG

Its Principles and Structures in Andre Breton's Nadja, L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Its Principles and Structures in Andre Breton's Nadja, L The surrealist novel: its principles and structures in André Breton's "Nadja," "L'Amour Fou" and "Arcane 17" Item Type text; Dissertation-Reproduction (electronic) Authors Lang, Carol Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 12:17:21 Link to Item http://hdl.handle.net/10150/565482 THE SURREALIST NOVEL: ITS PRINCIPLES AND STRUCTURES IN ANDRE BRETON'S NADJA, L'AMOUR FOU AND ARCANE 17 by Carol Elizabeth Lang A Dissertation Submitted to the Faculty of the DEPARTMENT OF ROMANCE LANGUAGES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN FRENCH In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 0 Copyright 1980 Carol Elizabeth Lang THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Carol Elizabeth Lang__________________ entitled The Surrealist Novel: Its Principles and Structures in Andr£ Breton's Nadia, 1*Amour fou and Arcane 17 and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor o f Philosophy__________________________ . IjLdjiz. Date ij-- t - £ 0 Date 12. 17- Date Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. Dissertation Director Date STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to bor­ rowers. under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: EL. "La liberte n fest pas, comme la liberation, la lutte contre la maladie, elle est la sante." Andre Breton Arcane 17 To my Family and To the Members of the Community iv ACKNOWLEDGMENTS I am deeply.grateful to Professor Edouard Morot-Sir of The University of North Carolina, Chapel Hill. A respected critic and teacher, M. Morot-Sir while at The University of Arizona kindled his students' interest in the Surrealist movement. As co-director of this dissertation he generously and unfailingly provided scholarly advice. It has been a rare privilege to correspond with him regarding this re­ search. It is nonetheless clear that I bear the ultimate responsibil­ ity for this text. I wish to thank Professor Charles Rosenberg who as co-director communicated with the other readers and helped expedite this paper \ through complex administrative channels. I am also grateful to the other members of my committee. Profes­ sors Inge Kohn and Henri Servin, for their kind assistance and encour­ agement in the preparation of this study. I am infinitely appreciative of the administrative assistance and support of Dr. Dolores Brown, Graduate Studies advisor in the Department of Romance Languages. Mr. Peter Rout, Graduate College reader, deserves special thanks for his competence in reading and appreciating a bilingual manuscript. I am appreciative of the courtesy and promptness of the staff of the Bibliotheque Nationale, Paris, where I obtained and studied material essential to my research. v vi Special thanks go to Barbara Armstrong and Pamela Foster for providing optimism and homes in which to write. I also thank them, and friends too numerous to mention, for proofreading much of the English text. I am grateful to JoLene Unruh for offering her time and effort in preparing the manuscript. Last, but certainly not least, I am indebted to Elizabeth Wickersham. Marge Sloan, and Gloria DeVore for their faith and confi­ dence that this dissertation would be completed. TABLE OF CONTENTS Page LIST OF TABLES . ............................. ix ABSTRACT . , . ............... x CHAPTER 1. INTRODUCTION .......................... 1 Failure of Criticism . 1 Early Preoccupation of Breton with the N o v e l ......... 16 2. N A D J A ............................. 26 Explicit Intentions ............... 29 Physical Structures ...................................... 38 Thematic Structures ....... ...................... 49 Self-Expression via the Unconscious: Babinski, Freud .......................... 49 Surrealist Space: Expansion toward the Infinite . 55 Surrealist Space: Attraction and Repulsion .... 74 The Four Elements .................... 80 Woman and the Unconscious ........................... 99 The Promenade ............................. Ill The Encounter ........... 118 Liberty and Creation ............................... 123 Lexical Elements, Syntactical Aspects .............. 127 3. STRUCTURES WITHIN L 1 AMOUR FOU . .......... 141 Explicit Intentions .................... 142 Physical Structures ...................................... 147 Thematic Structures ............. 157 Objective Chance ................... 157 The Encounter ................................... .. 172 L TAmour fou ............. 180 Woman and Child: Liberating, Creative Forces . 186 Lexical Elements, Syntactical Structures..... 194 vii viii TABLE OF CONTENTS--Continued Page 4- STRUCTURES WITHIN ARCANE 1 7 ................................. 203 206 Thematic Structures ............. ................. .. 207 Disintegration and Reintegration .................. 207 Woman and Child ........... 222 Liberty and Creation ............................... .. 231 Lexical Elements and Syntactical Structures . , . 242 5. CONCLUSION . \ .................... 252 SELECTED BIBLIOGRAPHY 262 LIST OF TABLES • Table Page 1. Nadja: Structural Analysis (1963 Edition) ................ 41 2. L ?Amour fou: Structural Analysis . ........................ 150 3. Arcane 17: Structural Analysis ..... .... 208 ix ABSTRACT Surrealist principles and structures in Nadja, L TAmour fou and Arcane 17 reveal the continuing preoccupation of Andre Breton with the liberation of the unconscious and its communication to the reader. The purpose of this dissertation is to trace the evolution of such struc­ tures and to demonstrate the contribution of Breton’s early medical background to these works including the influence of J. Babinski. In the Introduction the lack of interest in these works on the part of key critics is considered. Passages from Clair de terre, Les Pas perdus and the Manifeste du Surrealisme are seen, on the other hand, to suggest the early concern of Breton with the potential of the Sur­ realist novel. Each of the three works is then treated in depth. The explicit intentions of Breton are cited (except in the case of Arcane 17). Next, the physical structures of each work are examined. These are considered to be spatial indications of Breton’s thought. Primary and secondary divisions, paragraphing, sentence length and illustrated matter are dis­ cussed. Special attention is given to Breton’s continuing attempt to provide the work as a ’’glass house” to the reader. Physical structures are seen to be original, varied, uneven, open and groping in Nadja. They are more even but more eclectic in L ’Amour fou. In Arcane 17 they are structures capable of communicating Breton’s most mature, intense expression. x xi Thematic structures are explored in detail. In Nadja these are many. Self-expression via the unconscious, surrealist space, attraction and repulsion, the four elements, the promenade, the encounter and lib­ erty and creation receive attention. Particular study is made of the principal themes of the unconscious, the promenade, the encounter and liberty. In L^Amour fou, Breton is seen to have gathered these loose thematic structures into a tighter framework. From the earlier themes of Nadja four principal notions are shown to have developed: objective chance, the encounter, mad love, and woman and child. The thematic in­ tensity of Arcane 17, finally, is seen to depend on the integration of three structures, that of disintegration and reintegration, woman and the child and liberty and creation. Use of generative images to docu­ ment and communicate these notions to the reader is noted. In addition, lexical elements and syntactical structures are examined since they play a unique role in the Surrealist documentation of the unconscious in these works. Interplay of proper nouns, juxta­ position of psychological, scientific, poetic, casual and Biblical terms, as well as an often utilized "springboard" technique are explored. These elements, as well as the creative use of open-ended sentences, italics and suspension points permit simultaneous documentation of ob­ jective and subjective realities. In the Conclusion these principles and structures are found to provide for the liberation of the unconscious and the consequent evolu­ tion of the dream. At the same time they involve closely superimposed objective and subjective documentation of this process. Both aspects must be considered characteristic of the Surrealist novel as envisioned by Breton.
Load more

Recommended publications
  • Acción Surrealista Y Medios De Intervención. El Surrealismo En Las Revistas, 1930 – 1939
    Acción surrealista y medios de intervención. El surrealismo en las revistas, 1930 – 1939 Javier MAÑERO RODICIO CES Felipe II, Universidad Complutense de Madrid [email protected] Entregado: 19/9/2012 Aceptado: 4/7/2013 RESUMEN Sobre la base de un estudio previo, El surrealismo en las revistas 1919 – 1929, pero de forma autónoma, se aborda a continuación la segunda década surrealista, revisitada siempre al hilo de las revistas que aglutinaron al movimiento. Tras analizar desde Un cadavre la dimensión de la crisis del grupo hacia el cambio de década, asistimos a la adaptación del surrealismo a las extremas condiciones políticas de los años 30 con su revista El surrealismo al servicio de la Revolución. Pero también, y al mismo tiempo, al momento de su máxima difusión y aceptación, particularmente a través del arte. La revista Minotaure será la principal manifestación de este proceso, aunque también son tenidas aquí en cuenta otras cabe- ceras. Palabras clave: Surrealismo, Revistas de arte, A. Breton, G. Bataille, Le surréalisme au service de la Révolution, Documents 34, Minotaure, Cahiers d’Art. Surreal action and means of intervention. Surrealism in the magazines, from 1930 to 1939 ABSTRACT Following on from the previous study, Surrealism in Magazines 1919 – 1929, the second Surrealist decade is now focussed on – at all times with regard to the magazines that united together around the movement. After analysing in Un cadavre the effects of the crisis of 1929, we witness Surrealism’s adap- tation to the extreme political panorama of the 1930’s with the magazine Surrealism in the service of the revolution.
    [Show full text]
  • Of the Omnipotent Mind, Or Surrealism
    UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 four Introduction: The unfortunate onset of the 1930s By the end of the 1920s, life was FO turning sour for Breton. Financially, he was floundering. Amorously, he found himself in dire straits: his marriage with Simone Kahn was over, a love affair UR with Lise Meyer had ended badly, his involvement with Nadja had been tragic and the affair with Suzanne Muzard— introduced as ‘X’ at the end of Nadja— The ‘Golden was not going well.
    [Show full text]
  • Documents (Pdf)
    Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada.
    [Show full text]
  • Rêverie” (Notes, Fragments, and Collage for a Lecture) by Juan José Lahuerta
    ©Juan José Lahuerta, 2007 & 2016 “Rêverie” (notes, fragments, and collage for a lecture) by Juan José Lahuerta - “Rêverie” was published in Le Surréalisme au Service de la Révolution, no. 4, Paris, December 1931, pp. 31-36. - Issues 3 and 4 appeared simultaneously in December 1931. Dalí also contributed to issue 3 with the major article “Objets surréalistes” and a note on “Visage Paranoïaque,” together with a postcard about Picasso’s “black period.” - Both of these issues have a distinct political bent; for example, no. 3 opens with the long Aragon article “Le surréalisme et le devenir révolutionnaire.” Thus a certain tension arises between Dalí’s contributions, particularly “Rêverie,” and this strongly political vein. - The consequences of publishing this “story,” if it can be called that, must be understood within the context of this tension. In fact, these consequences had a significant impact on the Surrealists, since the piece helped spark the definitive break between Breton and Aragon. Once it was published, the story’s pornographic nature caused a considerable scandal, to the point that Surrealists who were members of the Communist Party were called before a commission that demanded explanations of them. Shortly thereafter, in March of 1932, Éditions Surréalistes published Breton’s plaquette Misère de la poésie. Its objective was to defend Aragon, who found himself embroiled in legal and police proceedings following publication of the poem “The Red Front.” In this plaquette, however, and contrary to party directives and the ambiguous position of Aragon himself, Breton defended such things as the complementary relationship between dialectic thought and Freudian analysis.
    [Show full text]
  • For André Breton)
    Published by Peculiar Mormyrid peculiarmormyrid.com All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher or author. Texts Copyright © The Authors Images Copyright © The Artists Direction: Angel Therese Dionne, Casi Cline, Steven Cline, Patrik Sampler, Jason Abdelhadi Cover Art by Ody Saban ISBN 978-1-365-09136-0 First Edition 2016 CONTRIBUTORS Jason Abdelhadi Rik Lina Elise Aru Michaël Löwy Johannes Bergmark Renzo Margonari Jay Blackwood Rithika Merchant Anny Bonnin Paul McRandle Bruce Boston Andrew Mendez Maurizio Brancaleoni Steve Morrrison Cassandra Carter David Nadeau Miguel de Carvalho Valery Oisteanu Claude Cauët Ana Orozco Casi Cline Jaan Patterson Steven Cline Toby Penny Paul Cowdell Mitchell Poor Ashley DeFlaminis Evelyn Postic Angel Dionne Jean-Raphaël Prieto Richard Dotson John Richardson Guy Ducornet Penelope Rosemont Alfredo Fernandes Ody Saban Daniel Fierro Ron Sakolsky Mattias Forshage Patrik Sampler Joël Gayraud Nelly Sanchez Guy Girard Mark Sanders Jon Graham Pierre-André Sauvageot Jean-Pierre Guillon Matt Schumacher Janice Hathaway Scheherazade Siobhan Nicholas Hayes Arthur Spota Sherri Higgins Dan Stanciu Dale Houstman Virginia Tentindo Karl Howeth TD Typaldos Stuart Inman Tamara K. Walker James Jackson John Welson Alex Januário Craig Wilson Philip Kane William Wolak Stelli Kerk İzem Yaşın Stephen Kirin Mark Young Megan Leach Michel Zimbacca CONTENTS PAS UN CADAVRE:
    [Show full text]
  • Clouston2013poetics.Pdf
    The poetics of Hermeticism: André Breton’s shift towards the occult in the War Years. Victoria Clouston A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Oxford Brookes University November 2012 ACKNOWLEDGEMENTS My deepest thanks go to Professor Nathalie Aubert, without whom this project would never have happened, and whose inspiration and encouragement, added to unsurpassed professionalism, have guided me throughout and resulted in a uniquely precious friendship. I would also like to thank Professor Gavin Parkinson for his input and support from the moment of our surreal meeting – itself a perfect example of “le hasard objectif”. My thanks, too, to the administrative staff and librarians at Oxford Brookes, especially to Jill Organ and Charmian Hearne, who have helped me throughout efficiently, kindly and unstintingly, despite their relentlessly busy workloads. To the many friends who have given generously of their encouragement and understanding through the years, I give my thanks – especially, among many others, to Barbara, Christine and John, Elisabeth and Anthony, Jo, Marie and Naomi. Most of all, my thanks are for the memory of Lou, the best of friends, whose gift for friendship and whose inspiration in all things literary and artistic remain unique. My family has been my rock, encouraging me with love and enthusiasm. I thank them all, especially my sister and two, in particular, of my many lovely cousins. My grown- up children, their partners and even the next generation, have all been stalwart – if at times bemused – in their love and support, for which I thank them all.
    [Show full text]
  • Surrealism, Occultism and Politics
    Surrealism, Occultism and Politics This volume examines the relationship between occultism and Surrealism, specif- ically exploring the reception and appropriation of occult thought, motifs, tropes and techniques by surrealist artists and writers in Europe and the Americas from the 1920s through the 1960s. Its central focus is the specific use of occultism as a site of political and social resistance, ideological contestation, subversion and revolution. Additional focus is placed on the ways occultism was implicated in surrealist dis- courses on identity, gender, sexuality, utopianism and radicalism. Dr. Tessel M. Bauduin is a Postdoctoral Research Associate and Lecturer at the Uni- versity of Amsterdam. Dr. Victoria Ferentinou is an Assistant Professor at the University of Ioannina. Dr. Daniel Zamani is an Assistant Curator at the Städel Museum, Frankfurt am Main. Cover image: Leonora Carrington, Are you really Syrious?, 1953. Oil on three-ply. Collection of Miguel S. Escobedo. © 2017 Estate of Leonora Carrington, c/o Pictoright Amsterdam 2017. This page intentionally left blank Surrealism, Occultism and Politics In Search of the Marvellous Edited by Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
    [Show full text]
  • André Breton / Anatole France: Un Cadavre Bien Vivant... « Au Hasard De Mes Recherches, Je Relis Un Cadavre (Neuilly-Sur-Seine, Imprimerie Spéciale Du Cadavre, S.D
    Semaine 31 Site du Centre de recherches sur le Surréalisme http ://melusine.univ-paris3.fr/ Actualités André Breton / Anatole France Claude Cahun Pouvoirs du titre. Genèse et enjeux de l’intitulation artistique à l’époque contemporaine Crimes et délits – Colloque des Invalides Magritte Les Cenci ... André Breton / Anatole France: un cadavre bien vivant... « Au hasard de mes recherches, je relis Un cadavre (Neuilly-sur-Seine, Imprimerie Spéciale du Cadavre, s.d. [1924], un feuillet in-4° de quatre pages). La chute de ce pamphlet a toujours hanté ma mémoire: 'Il ne faut plus que mort, cet homme fasse de la poussière.' Il s'agit d'Anatole France (1844-1924), élu à l'Académie française en 1898, prix Nobel de littérature 1921. Co-fondateur de la Ligue des droits de l'homme, dénonciateur du génocide arménien, signataire de la pétition pour le révision du procès Dreyfus, Anatole France a rendu sa Légion d'honneur par solidarité avec Émile Zola. Deux avant sa mort les oeuvres complètes de France furent mises à l'index. * Écrit en réaction aux funérailles nationales faites à Anatole France, Un cadavre constitue le premier texte surréaliste collectif. Louis Aragon et Pierre Drieu La Rochelle (qui finance l'opération) sont à l'origine de ce pamphlet qui se distingue d'emblée par cette extrême violence verbale qui caractérisera les interventions surréalistes. Cette pratique furieuse de l'invective à la rodomont deviendra jusqu'à aujourd'hui monnaie courante dans toutes les mouvances se réclamant peu ou prou du surréalisme. « Avez-vous déjà giflé un mort ?' » demande Aragon. « Certains jours j'ai rêvé d'une gomme à effacer l'immondice humaine ».
    [Show full text]
  • The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel
    A CHANGING OF THE GUARD: THE EVOLUTION OF THE FRENCH AVANT-GARDE FROM ITALIAN FUTURISM, TO SURREALISM, TO SITUATIONISM, TO THE WRITERS OF THE LITERARY JOURNAL TEL QUEL DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Mary Laura Papalas, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Professor Jean-François Fourny, Adviser Approved by Professor Charles Klopp Professor Judith Mayne _______________________________ Professor Karlis Racevskis Adviser Graduate Program in French & Italian Copyright by Mary Laura Papalas May 2008 ABSTRACT The avant-garde is an aesthetic movement that spanned the twentieth century. It is made up of writers and artists that rebelled against art and against society in a concerted effort to improve both, and their relationship to one another. Four avant-garde groups, the Futurists, the Surrealists, the Situationists, and the writers of the journal Tel Quel , significantly contributed to the avant-garde movement and provided perspective into whether that movement can exist in the twenty first century. The first Futurist Manifesto , published in the French newspaper Le Figaro in 1909 by Philippo Tommaso Marinetti, instigated the avant-garde wave that would be taken up after the Great War by the Surrealists, whose first 1924 Manifeste du Surréalisme echoed the Futurist message of embracing modern life and change through art. The Surrealists, however, focused more on Marxism and psychoanalysis, developing ideas about life and art that combined these two ideologies in order to link the improvement of society with the unconscious individual experience. The Situationists, whose group formed in 1957, took up the themes of social revolution and freedom of the unconscious, developing a method for creating situations that were conducive to both of these things.
    [Show full text]
  • Aide À La Visite Dossier À Destination Des Enseignants Et Des Relais Associatifs Et Culturels
    Aide à la visite Dossier à destination des enseignants et des relais associatifs et culturels en partenariat avec L’année 2020 marque le centenaire de la publication des Champs magnétiques, recueil écrit à quatre mains par André Breton et Philippe Soupault, et que Breton qualifi era plus tard de « pre- mier ouvrage surréaliste ». Cette première grande exposition consacrée au surréalisme littéraire fait la part belle à la poésie, forme d’expression privilégiée de ces jeunes auteurs, qui y virent un moyen de « changer la vie », selon le mot d’ordre de Rimbaud. Plus de 200 pièces, issues principalement des collections de la Bibliothèque nationale de France et de la Bibliothèque litté- raire Jacques Doucet, mais aussi d’institutions publiques et de collections privées, jalonnent le parcours. Parmi celles-ci : les manuscrits d’œuvres emblématiques comme les Champs magné- tiques et Nadja, des collages de Max Ernst, des photographies de Man Ray, des sommeils et dessins hypnotiques de Robert Desnos, des cadavres exquis, des fi lms ou encore les costumes du ballet Parade, d’après Picasso. Ces œuvres témoignent de l’« esprit surréaliste » et des expé- rimentations caractéristiques des premières années du mouvement, de 1918 à 1928. La première partie, « Guerre et esprit nouveau », pose le contexte et montre comment un petit groupe de jeunes gens, épris de poésie et scandalisé par les horreurs de la guerre, entreprend de remettre en cause les normes bourgeoises, politiques, sociales et culturelles. « Rêve et automatisme », la deuxième partie, rend compte des différentes expérimentations poétiques et artistiques conduites aux confi ns de l’inconscient pour libérer de nouvelles formes d’imagi- naire, telles l’écriture automatique, l’exploration du rêve, les sommeils provoqués, le cadavre exquis ou le collage.
    [Show full text]
  • Aide À La Visite De L'exposition L'invention Du Surréalisme
    Aide à la visite � Dossier à destination des enseignants et des relais associatifs et culturels en partenariat avec L’année 2020 marque le centenaire de la publication des Champs magnétiques, recueil écrit à quatre mains par André Breton et Philippe Soupault, et que Breton qualifiera plus tard de « pre- mier ouvrage surréaliste ». Cette première grande exposition consacrée au surréalisme littéraire fait la part belle à la poésie, forme d’expression privilégiée de ces jeunes auteurs, qui y virent un moyen de « changer la vie », selon le mot d’ordre de Rimbaud. Plus de 200 pièces, issues principalement des collections de la Bibliothèque nationale de France et de la Bibliothèque litté- raire Jacques Doucet, mais aussi d’institutions publiques et de collections privées, jalonnent le parcours. Parmi celles-ci : les manuscrits d’œuvres emblématiques comme les Champs magné- tiques et Nadja, des collages de Max Ernst, des photographies de Man Ray, des sommeils et dessins hypnotiques de Robert Desnos, des cadavres exquis, des films ou encore les costumes du ballet Parade, d’après Picasso. Ces œuvres témoignent de l’« esprit surréaliste » et des expé- rimentations caractéristiques des premières années du mouvement, de 1918 à 1928. La première partie, « Guerre et esprit nouveau », pose le contexte et montre comment un petit groupe de jeunes gens, épris de poésie et scandalisé par les horreurs de la guerre, entreprend de remettre en cause les normes bourgeoises, politiques, sociales et culturelles. « Rêve et automatisme », la deuxième partie, rend compte des différentes expérimentations poétiques et artistiques conduites aux confins de l’inconscient pour libérer de nouvelles formes d’imagi- naire, telles l’écriture automatique, l’exploration du rêve, les sommeils provoqués, le cadavre exquis ou le collage.
    [Show full text]
  • Source Notes
    Notes for Making Trouble: Surrealism and the Human Sciences Derek Sayer PRICKLY PARADIGM PRESS CHICAGO 2 3 Preface vi. “Inside the front door of Manhattan’s Museum of Modern Art” “Art: Marvelous and Fantastic,” Time ii. “When Susan Sontag was asked” Susan Sontag, XXVIII, No. 24 (14 December 1936). “The Art of Fiction,” interview with Edward Hirsch, The Paris Review 143, 1995. vi-vii. “art book, anthology, lexicon, and manifesto” Julien Levy, ed., Surrealism (New York: Da Capo, 1995). This is the film critic J. Hoberman’s descrip - Prologue—New York, December 1936 tion, from the back cover. v. “‘Surrealism may amuse you’” Faber and Faber vii. “a completely nude girl” Ingrid Schaffner, Salvador advertisement in Surrealism: Catalogue (London: Dalí’s Dream of Venus: The Surrealist Funhouse from the Women’s Printing Society, 1936), 9. 1939 World’s Fair (New York: Princeton Architectural Press, 2002), 32. v. “Salvador Dalí nearly suffocating” Salvador Dalí, The Secret Life of Salvador Dalí , trans. Haakon M. vii –viii. “Barr admitted ... skeletal clarity” All quota - Chevalier (New York: Dover, 1993), 344. tions from Robert Rosenblum, foreword to 1986 edition of Cubism and Abstract Art (New York: vi. “a serious public of scientists” Herbert Read, ed., Museum of Modern Art, 1986), 2 –3, in Harriet S. Bee Surrealism (New York: Harcourt Brace, nd [1937]), and Michelle Elligott, eds., Art in Our Time: A 19. Chronicle of the Museum of Modern Art (New York: Museum of Modern Art, 2004), 45. vi. “One sure thing” Harper’s Bazaar , November 1936, quoted in Deborah Solomon, Utopia Parkway: viii. “deep-seated and persistent interest” Alfred Barr, The Life and Work of Joseph Cornell (New York: Farrar, “Introduction” (1937), in Alfred Barr, ed., Fantastic Straus and Giroux, 1997), 83.
    [Show full text]