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Surrealist Collage in Text and Image
A new analysis of Surrealist collage in France, leading to a radical reassessment of Surrealism.
Surrealism
This collection of essays, inspired by André Breton's concept of the limites non-frontières of Surrealism, focuses on the crossings, intersections and margins of the surrealist movement rather than its divides and exclusion zones. Some of the essays originated as papers given at the colloquium 'Surrealism: Crossings/Frontiers' held at the Institute of Romance Studies, University of London, in November 2001. Surrealism is foregrounded as a trajectory rather than a fixed body of doctrines, radically challenging the notion of frontiers. The essays explore real and imaginary journeys, as well as the urban dérives of the surrealists and situationists. The concept of crossing, central to a read...
DADA BODIES
A comprehensive study of Dada's images of the body in various media and geographical centres. Mask or machine-part, grotesque or iconoclastic, the bodily image is confronted as both a reflection of and on the disjunctive, dehumanised society of wartime and post-war Europe, and a blueprint of the New Man.
Un Chien Andalou
"In 1929 Dali and Bunuel produced a seventeen-minute filmUn chien andalou. On its first screening, Georges Bataille referred to it as "that extraordinary film ... penetrating so deeply into horror." Its script is said to be based on two dream images - a woman's eye slit by a razor, ants emerging from a hole in a man's hand, and the film shocked audiences. It continues to fascinate, provoke, attract and alienate its viewers - and to influence filmmakers. Elza Adamowicz's lucid critical guide to this most enigmatic of works takes new approaches to the film. It reviews, for example, its openness to so many readings and interpretations; it reassesses Dali and Bunuel's account of the film as a model surrealist work and its reception by the surrealist group, and examines both the unresolved tensions within the film itself and the role of the viewer, as detective or dreamer?"--Publisher's website.
Back to the Futurists
In 1909 the Italian poet Filippo Tommaso Marinetti’s Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912 the Futurists published over thirty manifestos, celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. This collection of essays aims to reassess the activities of the Italian Futurist movement from an international and interdisciplinary perspective, focusing on its activities and legacies in the field of poetry, painting, sculpture, theatre, cinema, advertising and politics. The essays offer exciting new readings in gender politics, aesthetics, historiography, intermediality and interdisciplinarity. They explore the works of major players of the movement as well as its lesser-known figures, and the often critical impact of Futurism on contemporary or later avant-garde movements such as Cubism, Dada and Vorticism. The publication will be of interest to scholars and students of European art, literature and cultural history, as well as to the informed general public.
Dada and Beyond, Volume 2
International, iconoclastic, inventive, born out of the institutionalised madness of the First World War, Dada erupted in cities throughout Europe and the USA, creating shock waves that offended polite society and destabilised the cultural and political status quo. In spite of its sporadic and ephemeral character, its rich and diverse legacy is still powerfully felt nearly a century later. Following on from Dada and Beyond Volume 1: Dada Discourses, the sixteen essays in this collection provide critical examinations of Dada, placing particular emphasis on the ongoing impact of its creative output. The chapters examine its pivotal figures as well as its more peripheral protagonists, their dif...
Surrealism and the Art of Crime
Corpses mark surrealism's path through the twentieth century, providing material evidence of the violence in modern life. Though the shifting group of poets, artists, and critics who made up the surrealist movement were witness to total war, revolutionary violence, and mass killing, it was the tawdry reality of everyday crime that fascinated them. Jonathan P. Eburne shows us how this focus reveals the relationship between aesthetics and politics in the thought and artwork of the surrealists and establishes their movement as a useful platform for addressing the contemporary problem of violence, both individual and political. In a book strikingly illustrated with surrealist artworks and their ...
Historical Dictionary of Surrealism
Despite surrealism's celebration of the subconscious and eschewal of reason, the movement was nevertheless concerned with definitions. Andre Breton included a dictionary-style entry for surrealisme in his 1924 Manifeste du surrealisme and later explored juxtapositions of the absurd and the mundane in the 1938 Dictionnaire abrege du surrealisme. To the mountain of literature that seeks to organize the far-reaching intellectual movement, Aspley (honorary fellow, Univ. of Edinburgh) adds this handy volume that organizes the breadth of surrealism into concise entries on artists, writers, artworks, and themes. A chronology highlights events that sparked the surrealist imagination, activities of f...
In the Embrace of the Swan
Myths determine the way cultures understand themselves. The papers in this volume examine culturally specific myths in Britain and the German-speaking world, and compare approaches to the theory of myth, together with the ways in which mythological formations operate in literature, aesthetics and politics ‐ with a focus on the period around 1800. They enquire into the consequences of myth-oriented discourses for the way in which these two cultures understand each other, and in this way make a significant contribution to a more profound approach to intercultural research.
The Ends of Collage
The title 'The Ends of Collage', refers both literally and metaphorically to the place where collage fulfils its calling -- at the ends or edges of pictures and fragments, where separate worlds come together or break apart from one another. But it also suggests an historical paradigm, where collage is considered as a medium that existed in the so called "age of mechanical reproduction" and has now been overcome by the new logic of the digital age. The book attempts to survey different approaches to- and definitions of collage and the role of this medium in two crucial historical moments: its emergence in the early decades of the 20th century, and the introduction of digital media during the postmodern moment of the late 1970s and early 1980s.
