Originally published in 1985. Beasts of the Modern Imagination explores a specific tradition in modern thought and art: the critique of anthropocentrism at the hands of "beasts"—writers whose works ...constitute animal gestures or acts of fatality. It is not a study of animal imagery, although the works that Margot Norris explores present us with apes, horses, bulls, and mice who appear in the foreground of fiction, not as the tropes of allegory or fable, but as narrators and protagonists appropriating their animality amid an anthropocentric universe. These beasts are finally the masks of the human animals who create them, and the textual strategies that bring them into being constitute another version of their struggle. The focus of this study is a small group of thinkers, writers, and artists who create as the animal—not like the animal, in imitation of the animal—but with their animality speaking. The author treats Charles Darwin as the founder of this tradition, as the naturalist whose shattering conclusions inevitably turned back on him and subordinated him, the rational man, to the very Nature he studied. Friedrich Nietzsche heeded the advice implicit in his criticism of David Strauss and used Darwinian ideas as critical tools to interrogate the status of man as a natural being. He also responded to the implications of his own animality for his writing by transforming his work into bestial acts and gestures. The third, and last, generation of these creative animals includes Franz Kafka, the Surrealist artist Max Ernst, and D. H. Lawrence. In exploring these modern philosophers of the animal and its instinctual life, the author inevitably rebiologizes them even against efforts to debiologize thinkers whose works can be studied profitably for their models of signification.
Surrealism’s scientific imagery : Max Ernst, mathematical objects and non-euclidean geometry.
The surrealists’ interest in the various scientific fields through the theories of the images they ...generate, arose in the first years of their movement and never failed even up to the post-war period, evolving according to the rediscovery of scientific theories or objects. Max Ernst’s work is particularly representative of science’s appeal in the surrealist milieu. It recurrently appears in various shapes with this artist : diagrams and mathematic equations, rulers and callipers, figures either geometrical or born of cellular biology, cosmological visions... During the thirties, the appropriation of the theories of non-euclidean geometry dominates surrealism’s scientific imagery, together with the rediscovery of mathematical objects. These scientific models, translating mathematical equations in three dimensions, are known through Man Ray’s photographs, and appeared in several surrealist exhibitions. Max Ernst also participated in this collective fancy, by incorporating mathematical objects in his collages and by proposing his personal reading of the theories of non-euclidean geometry.
Provider: - Institution: - Data provided by Europeana Collections- Exposition. Paris, Bibliothèque nationale. 1975- Exposition. Ernst, Max. 1975- Avec mode texte- Catalogues d'exposition- All ...metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Contient une table des matières- Avec mode texte- All metadata published by Europeana are available free of restriction under the ...Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: Gredos. Repositorio Documental de la Universidad de Salamanca - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction ...under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Imagining Our Defeat O'Donovan, Leo J
America (New York, N.Y. : 1909),
02/2007, Letnik:
196, Številka:
6
Magazine Article
When New York's Museum of Modern Art held its comprehensive retrospective of Ernst in 2005, few canvases were as arresting as "The Fireside Angel" (1937), Ernst's virulent reaction to Franco's ...fascism in Spain. ... when the Philadelphia Museum of Art held a splendid exhibition of his work, also in 2005, his fierce reactions to the outbreak of the civil war in Spain again stood out.
"In the years before World War I, Europe appeared to be losing its hold on reality...Schoenberg's music was atonal, Mallarme's poems scrambled syntax and scattered words across the page and Picasso's ...Cubism made a hash of human anatomy. And even more radical ideas were afoot. Anarchists and nihilists inhabited the political fringe, and a new breed of artist was starting to attack the very concept of art itself...This new, irrational art movement would be named Dada...And for all its zaniness, the movement would prove to be one of the most influential in modern art, foreshadowing abstract and conceptual art, performance art, op, pop and installation art." (Smithsonian) This profile of Dada traces the origins of this avant-garde movement and considers its impact on "20th-century artists and art movements." The contributions of such influential figures in Dadaism as Marcel Duchamp, Hans Arp, Tristan Tzara, Max Ernst, Francis Picabia and Man Ray are highlighted.
