This essay offers a deep-text reading of the post-war French film Les Enfants du Paradis Children of Paradise (1945) as a theatrical exploration of Jungian concepts related to romantic anima/animus ...projections and the Surrealist ideal of a psychosexually liberated woman. The author juxtaposes Jungian and Hillmanian interpretations of certain scenes with a Lacanian view, to show how Surrealist-influenced post-Freudian theories dovetail with ideas pioneered by Jung. The movie revolves around problems of eros (relationship) between one self-possessed "anima woman" and the four very different men who fall in love with her. Because the film was written by a member of the Surrealist movement and made during the repressive Nazi occupation of Paris, there are many layers of meaning to everything seen and heard onscreen. When the numinous female lead, Garance, articulates her need for perfect freedom, she not only symbolizes the French people resisting Nazi domination, but also how women must struggle to resist idealized male projections if they are to remain whole and free and happy.
This practice-led PhD explores the role of mimicry (simulation, impersonation, imitation) in the surrealist prose of Claude Cahun, Ithell Colquhoun and Leonora Carrington. It evaluates mimicry both ...as a feminist critical technique and as a form of camouflage or evasion which provides space and opportunity within their prose for reflection and personal growth. Driven by a desire to cross thresholds, the investigation takes the form of a film-novel, The Cinema Beneath the Lake. The novel is generated using surrealist techniques of mimicry identified in these women's work and is further constrained in its method of development by the submission to chance. This approach pushes the writing to evolve its own surrealist practice, inevitably echoing the preoccupations of the writers under study; in particular, the occult and hermetic philosophies figuring in their prose. By adopting surrealist methods, I allow my own traumatic experiences to inform the work. The immersive nature of its exploration thus provides an opportunity to personally reflect on mimicry's importance both as a creative strategy and as providing an initiatory function within the development of self-knowledge and recovery from psychic trauma. The novel is accompanied by a sustained creative-critical reflection on the process of its production. In this way, the project aspires to stand as a demonstration of the therapeutic value of creative-critical engagement, reaching out to similar uses of automatism and surrealist reverie in the prose of these three women writers during their turbulent experiences of life in the shadow of war.
Belgian Exceptionalism Caluwaerts, Didier; Reuchamps, Min
2022, 20211124, 2021, 2021-11-24, Letnik:
1
eBook
Odprti dostop
This book takes stock of Belgium’s exceptional and – for some foreign observers –schizophrenic position in the political world and explains its idiosyncrasy to a non-Belgian audience. Offering a ...broad and comprehensive analysis of Belgian politics, the guiding questions throughout each of the chapters of this book are: Is Belgium a political enigma, and why? Along which axes is Belgium "exceptional" compared to other countries? And what insights does a comparative study of Belgian politics have to offer? The book therefore provides a critical assessment of how Belgian politics "stands out" internationally, both in good and bad ways – including consociationalism, federalism, democratic innovations, Euroscepticism, government formation, gender equality, among others – and which factors can explain Belgium’s exceptional position. Based on cutting-edge research findings, the book will be of wide interest to scholars and students of Belgian politics, European Politics and Comparative politics.
García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings ...of Federico García Lorca.
The Process of the Audiences’ ‘Voyeurisation’ in Surrealist Performance - Challenging Society’s Morals Through the “Unconsummated Act” (1938), “Please Touch” (1947) and “Cannibal Banquet” (1959) In ...their major performances – “The Unconsummated Act” organized for the inauguration of the Exposition Internationale du Surréalisme in 1938, “Please Touch” presented at “Le Surréalisme en 1947” and “Cannibal Banquet”, realized for the opening of the “Exposition Internationale du Surréalisme (E.R.O.S.)” in 1959-, the surrealists introduced a special play with the audience. Taking advantage of the fact that these scandalous events, mostly built on the naked (female) figure, drew in a large number of spectators, they involved those present in their games and made them (un)voluntary participants. By simply being there and looking at what happened before him, the spectator became an accomplice in the surrealists doing. Because of his desire to gaze upon the differently staged and naked female body, the surrealists exposed his apparent satisfaction of looking. The spectator was therefore openly stigmatized: he became a voyeur.
O surrealismo envergonhado Gonçalves, Rosa Gabriella de Castro
Ars (São Paulo, Brazil),
09/2022, Letnik:
20, Številka:
45
Journal Article
Odprti dostop
Ainda que não tenha havido um movimento surrealista no Brasil, alguns modernistas se identificaram com a estética e alguns dos princípios norteadores deste movimento, como por exemplo o inconsciente, ...e realizaram trabalhos no campo da fotomontagem. Contudo, tais experiências foram ofuscadas, inicialmente pelo desejo de criar um imaginário nacional e, posteriormente, pelo espaço conquistado por obras de caráter mais construtivo.
Although known as one of the most doctrinaire movements of the historical avant-garde – mostly due to Breton’s intense theorising and dominating personality – individual Surrealists approached the ...problem of the divided and decentred subject from substantially different angles. Surrealism began as a poetic movement around the circle of Breton, Soupault, Louis Aragon, Paul Éluard, Benjamin Péret, and Robert Desnos. By the end of the 1930s most had broken with Breton, if not the foundational tenets of the movement itself. This study examines collections of Surrealist poetry from the mid-1930s from Breton, Éluard, and Desnos as examples of the variant understandings of the subject within Surrealism. Breton published The Air of the Water (1934) in the midst of his most intense articulation of Surrealist theory in Communicating Vessels (1932) and Mad Love (1937); Éluard published Public Rose (1934), Easy (1935), and The Covered Forehead (1936) just a few years before his break with Breton in 1938; The Neck-less (1934) was published by Desnos a half-decade after being ‘excommunicated’ from the Surrealist group by Breton, though he never ceased to consider himself a Surrealist. In each case, the poet’s understanding of the ‘fissured subject’ and his vision of the potential for that subject is both Surrealist and entirely individual.
In this study of surrealism and ghostliness, Katharine Conley provides a new, unifying theory of surrealist art and thought based on history and the paradigm of puns and anamorphosis. In Surrealist ...Ghostliness, Conley discusses surrealism as a movement haunted by the experience of World War I and the repressed ghost of spiritualism. From the perspective of surrealist automatism, this double haunting produced a unifying paradigm of textual and visual puns that both pervades surrealist thought and art and commemorates the surrealists' response to the Freudian unconscious. Extending the gothic imagination inherited from the eighteenth century, the surrealists inaugurated the psychological century with an exploration of ghostliness through doubles, puns, and anamorphosis, revealing through visual activation the underlying coexistence of realities as opposed as life and death. Surrealist Ghostliness explores examples of surrealist ghostliness in film, photography, painting, sculpture, and installation art from the 1920s through the 1990s by artists from Europe and North America from the center to the periphery of the surrealist movement. Works by Man Ray, Claude Cahun, Brassaï and Salvador Dalì, Lee Miller, Dorothea Tanning, Francesca Woodman, Pierre Alechinsky, and Susan Hiller illuminate the surrealist ghostliness that pervades the twentieth-century arts and compellingly unifies the century's most influential yet disparate avant-garde movement.
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