Surrealism

Nietzsche a Wall Street

by daniele balicco

published in "www.leparoleelecose.it"

Nietzsche è stato, insieme a pochi altri pensatori classici, il punto di riferimento filosofico più importante per la... more Nietzsche è stato, insieme a pochi altri pensatori classici, il punto di riferimento filosofico più importante per la cultura teorica del secondo Novecento occidentale. Ma se è vero che i nomi dei filosofi sono poco più che metonimie, dove momentaneamente si cristallizzano e transitano flussi collettivi di pensiero , molto probabilmente non lo è stato per caso. La tradizione interpretativa francese che lo ha progressivamente trasformato in un polo magnetico generatore di vita teorica, di modelli esistenziali, di pratiche estetiche e di radicalismo politico, ha segnato a fondo gli ultimi tre decenni del Novecento e l’atmosfera teorica che ancora respiriamo. Il corpus di queste letture ha costruito un’egemonia. In questo scritto provo a ricostruirne le mosse teoriche fondamentali e la sua successiva metamorfosi statunitense.

Surrealist Poetry Turns Lethal: Kawamata Chiaki’s “Death Sentences” Reviewed

by Emily Goldsher-Diamond

Originally appeared at Vol. 1 Brooklyn in April, 2012.

Death Sentences is a very smart depiction of information as epidemic, spreading exponentially with little chance of... more Death Sentences is a very smart depiction of information as epidemic, spreading exponentially with little chance of being contained. “The Gold of Time” functions quite well as a metaphor for information’s infectious qualities and the futility of containment, especially in the digital age. What results is a Lawrence Lessig-ian denial of the concrete nature of intellectual property, a story that bears witness to the very phenomenon that Lessig’s Free Culture seeks to legitimize: here is information; it is viral and it cannot be stopped, period.

The Daoist, the Frog and the Pipe

by Gestur Hilmarsson

Philosophical Daoism, taught by Günter Wohlfart at
University of Iceland in spring 2012

A short paper containing a few thoughts on self-referentiality in Daoist thought, Haiku and art. A short paper containing a few thoughts on self-referentiality in Daoist thought, Haiku and art.

Modern Art Revisited: A Fascination for the Occult. Review of the exhibition L’Europe des esprits ou la fascination de l’occulte, 1750-1950.

by Tessel Bauduin

Bauduin, T.M. ‘Modern Art Revisited: A Fascination for the Occult’. [exh.rev.] all-over Magazin 2 (March 2012): 44-51.

Triptych on Surrealism

by Lénia Marques

[in: The Journal of Romance Studies Volume, 8, 3, 2006-07, pp. 77-87.]

Review essay. Review essay.

The Representation Of The Object As The Other In Modernism/Postmodernism: A Psychoanalytic Perspective

by Slobodanka Millicent Vladiv-Glover

'Facta Universitatis',  2011

This paper deals with the complex relationship of the modern psychoanalytic subject to his object which is both a... more This paper deals with the complex relationship of the modern psychoanalytic subject to his object which is both a material embodiment of the subject in representation (art and literature) and a metaphysical form of the subject as absence. The space of the subject in the world of objects is illustrated through an analysis of Surrealist art and poetry and the continuation of the paradigm in postmodern forms of representation, for which Andrei Voznesensky's poem "Oza" serves as an example.
Key words: Materiality of the object in Surrealism, desire, Voznesensky's Oza, the represented object as substitution for the Lacanian ‘real" and the Freudian Id, the unrepresentable objet-petit-a, the Self as difference and ‘lost' object.

In Pursuit of Toyen: Feminist Biography in an Art-historical Context

by Karla Huebner

forthcoming in Journal of Women's HIstory

Love, Unlove, and Lust

by April Fallon

On Cummings' use of the surreal in his erotic poetry

A Surrealist Meteorology: On General Economy in Hegel's Philosophy of Nature

by Andrew Kingston

Sign Language: Vernacular Graphics and the Problem of Other Minds

by Sean Payne

Master of Visual Arts by Research (La Trobe University) exegesis, 2005.

I experience only my own conscious mental states directly; I cannot experience those of others in the same way. So do... more I experience only my own conscious mental states directly; I cannot experience those of others in the same way. So do I have any reason to believe that others are conscious like me, or even if they have minds at all? What sort of minds might others have?
An important way we answer these questions for ourselves is by the evidence of language (visual and linguistic systems of signs) which we presume provide access to others’ subjective states of mind.

Our subjectivity is embodied, that is, we inhabit the world physically, interpreting and creating an image of our environment through our senses. Experience is therefore always constrained for us by the limits of our senses to perceive it.

So languages are a limited answer to the problem of other minds, ultimately unreliable in successfully bridging subjectivities, one mind to another, one person to another, since signs are voices in the social domain, left behind when the speaker is gone, subject to change, distortion, corrosion and entropy.

This thesis, consisting of an exegesis and an exhibition of paintings and photographs, is concerned with the limits of vernacular visual language. The aesthetic strategy is to explore that point where understanding edges toward a threshold where meaning might effectively cease; constructing metaphors for the inability of subjectivities to ever completely bridge the gap.

In the Exegesis, I articulate the problem, some of its implications, and examine the relevant aspects of the work of several artists who in one way or another are intent on examining the problem and exploring its potential as an aesthetic strategy: Antoni Tápies, Cy Twombly, Aaron Siskind, Jasper Johns, and Rosalie Gascoigne.

Why did European Avant-Garde artists turn to film in the 1920s?

by Charlotte Hopson

1924-1993 : Abe Kôbô

by Laurent RAUBER

A presentation of the japanese writer Abe Kobo, whose works merge criticism toward the ruins of modernity and hope... more A presentation of the japanese writer Abe Kobo, whose works merge criticism toward the ruins of modernity and hope through art, from a point of view greatly influenced by surrealism and existentialism.

Le Fou D¿ Elsa y la pervivencia de la España de las tres religiones

by antonio dominguez leiva

Décapitations: du culte des crânes au cinéma gore

by antonio dominguez leiva

Etología del mal y autobiografía delirante: La vida secreta de Salvador Dalí

by antonio dominguez leiva

Les motifs de la décapitation dans l'art et la littérature d'Occident

by antonio dominguez leiva

La heterodoxia religiosa en los años 30: de la violencia surrealista al humorismo conservador

by antonio dominguez leiva

Les motifs de la décapitation dans l'art et la littérature d'Occident: du legs médiéval à la post-modernité:(une archéologie du supplice et du macabre), 1450 …

by antonio dominguez leiva

Decadencia, irracionalismo y violencia

by antonio dominguez leiva

Merveilleux et fantastique chez deux surréalistes francophones - une lecture de Chirico et Lecomte

by Tania Collani

« Merveilleux et fantastique chez deux surréalistes francophones : une lecture de Chirico et Lecomte », Études francophones, dossier thématique : Géographies du fantastique, sous la direction de Vittorio Frigerio et Fabrice Leroy, Université de Louisiane à Lafayette, vol. XXIII, n° 1-2, printemps-automne 2008, p. 127-140, ISSN 1093-9334

Le surréalisme consacre plusieurs réflexions théoriques à l’analyse du fantastique et, plus encore, du merveilleux.... more Le surréalisme consacre plusieurs réflexions théoriques à l’analyse du fantastique et, plus encore, du merveilleux. Après une première partie consacrée à la définition contrastive des deux concepts chez les surréalistes – où nous apprécierons le rôle théorique fondamental joué par le rapport entre « réalité » et « surréalité », entre définition littéraire et extra-littéraire –, nous passerons à l’analyse de trois récits surréalistes francophones : Hebdomeros (1929) de l’italien Giorgio De Chirico ; L’Homme au complet gris clair (1931) et La Servante au miroir (1941) de l’écrivain belge Marcel Lecomte. Nous montrerons que le merveilleux dans ces récits est ancré dans un contexte quotidien tout à fait vraisemblable et reconnaissable, se rapprochant de ce point de vue au genre fantastique ; sa manifestation présente toutefois des expédients et une distanciation qui abolit l’effet de peur et d’hésitation en faveur d’une vision panique de la sphère du réel, réunissant à son intérieur aussi le monde onirique et imaginaire, ce qui fait l’originalité de la formulation surréaliste du merveilleux.