scholarly journals As forças saturninas nas Fotomontagens do poeta Jorge de Lima / The Saturnine Forces in the Photomontages of Jorge de Lima

2020 ◽  
Vol 15 (2) ◽  
pp. 55
Author(s):  
Bárbara Bergamaschi Novaes
Keyword(s):  
Visual Arts ◽  
Walter Benjamin ◽  
Georges Bataille ◽  
Early 20Th Century ◽  
Andre Breton ◽  
Avant Garde ◽  
André Breton ◽  
Modern Project ◽  
Cartesian Cogito ◽  
Selective Analysis

Resumo: A partir de uma análise seletiva de oito fotomontagens do livro “Pintura em pânico” (1943) de Jorge de Lima traçamos correspondências entre as imagens do poeta alagoano, a iconografia barroca e alegórica estudada por Walter Benjamin, e as tópicas privilegiadas pelos artistas surrealistas europeus. Veremos como a praxis e os procedimentos criativos de Lima bebem das fontes dos artistas da vanguarda francesa do início do século XX, ecoando as investigações empreendidas pelo movimento encabeçado por André Breton e Georges Bataille – que, por sua vez, se configurou, nas palavras do crítico Ronaldo Brito, como: “uma tentativa heróica de atacar o cogito cartesiano” e “denunciar a falência do projeto moderno”. Para tal nos apoiaremos nas preposições, escritos e obras destes escritores supracitados, bem como nas trocas epistolares entre os poetas, Murilo Mendes e Jorge de Lima, bem como a relação de ambos com o pintor Ismael Nery.Palavras chave: Surrealismo no Brasil; artes visuais; vanguardas modernas; fotografia.Abstract: From a selective analysis approach of eight photomontages of Jorge de Lima’s book “Pintura em Pânico” (1943), we point to several correspondences between the photo-collage images of the Alagoan poet, and the baroque and allegorical iconography studied by Walter Benjamin, as well as the themes favored by surrealist’s french artists. We will regard how Lima’s creative praxis and procedures had nourished from the early-20th-century French avant-garde surrealist artists, echoing the investigations undertaken by the movement headed by André Breton and Georges Bataille – described by art critic Ronaldo Ronaldo Brito as: “a heroic attempt to attack the Cartesian Cogito” and “denounce the bankruptcy of the modern project”. For such can we will base our analysis on the writings and works of Surrealism movement members, as well as in the epistolary exchanges between poet Murilo Mendes, Jorge de Lima and the painter Ismael Nery.Keywords: Surrealism in Brazil; visual arts; modern avant-garde; photography.

scholarly journals Dream-work: Surrealism and Revolutionary Subjectivity in André Breton and Georges Bataille

2021 ◽  
Vol 9 (3) ◽  
Author(s):  
Rory Dufficy
Keyword(s):  
Georges Bataille ◽  
Dream Work ◽  
Andre Breton ◽  
Avant Garde ◽  
André Breton

This paper explores a polemic between André Breton and Georges Bataille around the question of the politics of the avant-garde. Focussing on texts composed in the late 1920s, principally Breton’s Second Manifesto of Surrealism and Bataille’s ‘The “Old Mole” and the Prefix Sur in the Words Surhomme and Surrealist’, this paper argues that in examining this debate around matter and material, it is possible to extract two distinct conceptions of the places of subjectivity and revolution in avant-garde aesthetics. While Breton wishes to separately define the idealist aesthetic projects of Surrealism and the materialist project for revolution, Bataille argues that a commitment to that materialist project requires a similarly materialist aesthetics.

scholarly journals Montagem literária em Journal du dehors, de Annie Ernaux / Literary Montage in Annie Ernaux’s Journal du dehors

2021 ◽  
Vol 26 (3) ◽  
pp. 41
Author(s):  
Letícia Campos de Resende
Keyword(s):  
Walter Benjamin ◽  
Andre Breton ◽  
Xxth Century ◽  
André Breton ◽  
Annie Ernaux

Resumo: Este artigo tem o objetivo de fazer uma reflexão sobre o livro Journal du dehors, de Annie Ernaux (2012), à luz principalmente de algumas reflexões de Walter Benjamin (1989, 1993, 2019) sobre a montagem literária no volume II das Passagens (Das Passagen-Werk). Comparo o trabalho da autora ao trabalho de uma trapeira e flâneuse do fim do século XX, que vai buscar, em outras formas de mediação, uma nova compreensão do capitalismo e das manifestações da economia na cultura. Ao longo do artigo, tentei realizar uma assemblage de reflexões fragmentárias sobre obras literárias direta ou indiretamente relacionadas ao meu objeto de estudo. Assim, começo o texto apresentando uma reflexão rápida sobre as figuras do trapeiro (chiffonnier) e do flâneur em Baudelaire e, em seguida, passo a Journal du dehors, intercalando a essa análise um breve comentário sobre Nadja, de André Breton (2011), que, além de citada por Ernaux (2012), se aproxima temática e formalmente de Journal du dehors.Palavras-chave: montagem literária; Annie Ernaux; Walter Benjamin.Abstract: This article aims to analyze the book Journal du dehors, by Arnie Ernaux (2012), in light of Walter Benjamin’s (1989, 1993, 2019) reflections on the “literary montage”, as expressed in the second volume of his unfinished work Passages (Das Passagen-Werk). I will attempt to compare Ernaux’s work to that of a “chiffonnière” and “flâneuse” from the XXth century, who goes in search of a new understanding of capitalism and of economy’s manifestation in culture through different ways of mediation. This article takes the form of an “assemblage” of fragmentary reflections on other works of literature that could potentially be associated to Journal du dehors. I begin my text briefly reflecting on how the chiffonnier and the flâneur are presented in Baudelaire’s poetry. I then go on to analyze Journal du dehors, interspersing my analysis with a brief commentary on André Breton’s (2011) Nadja, not only because it is mentioned in Ernaux’s text (2012), but also because its structure and themes can be associated to those of Journal du dehors.Keywords: literary montage; Annie Ernaux; Walter Benjamin.

scholarly journals Avantgarde Suomessa

2021 ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Women Artists ◽  
Early 20Th Century ◽  
Avant Garde ◽  
The Social ◽  
Role Of Women ◽  
First Time

Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists and groups are presented in the book for the first time. At the same time, the articles highlight connections between well-known Finnish artists and international avant-garde movements that have not been recognized in earlier research. A key theme of the book is the tension between the internationality of avant-garde and the nationalist elements of Finnish culture. The book is peer-reviewed, and its authors are eminent senior scholars and younger researchers.

scholarly journals Entrevista a Michael Löwy, galardonado con el Premio europeo Walter Benjamin 2020

Acta Poética ◽  
2021 ◽  
Vol 42 (2) ◽  
pp. 171-185
Author(s):  
Marc Berdet ◽  
Keyword(s):  
Latin American ◽  
Karl Marx ◽  
Walter Benjamin ◽  
Max Weber ◽  
Theoretical Work ◽  
Andre Breton ◽  
Critical Thought ◽  
André Breton ◽  
Charles Fourier

Professor Marc Berdet gets into a dialogue with the brasilian-french thinker Michael Löwy, to establish the origin of his career; authors who have influenced his theoretical work such as Walter Benjamin and Max Weber, Karl Marx, Gersom Scholem, Georges Sorel, André Breton, Auguste Blanqui, Anna Zeghers, José Carlos Mariátegui, Charles Fourier, among others; and the evolution of a reflection that touches both European and Latin American critical thought.

Living as we Dream: Automatism and Automation from Surrealism to Stiegler

2020 ◽  
Vol 59 (3) ◽  
pp. 368-383
Author(s):  
Madeleine Chalmers
Keyword(s):  
Andre Breton ◽  
Language Understanding ◽  
French Studies ◽  
Avant Garde ◽  
André Breton ◽  
Starting Point ◽  
Bernard Stiegler

In his 2011 French Studies article ‘Leroi-Gourhan and the Limits of the Human’, Chris Johnson traced André Leroi-Gourhan's ethnography of the imbrication of the biological, cultural, and technological in Le Geste et la parole (1964). Johnson placed special emphasis on how Leroi-Gourhan's narrative culminates in a speculative vision of a homo post-sapiens: a limit-experience in which our species evolves beyond the human as we understand it in an increasingly automated world. This article takes up the conceptual genealogy surrounding Leroi-Gourhan to focus on the interaction between his work and that of his unruly predecessor André Breton, and heir, Bernard Stiegler. Taking as its starting point the linguistic contagion of automatism and automation, it will argue that Stiegler's contemporary reflections on our ‘automatic society’ are rooted in a Bretonian surrealist preoccupation with the automatic – not as a category of alienation, but as a wellspring of creativity, dreams, and subjectivity unfurling in language. Understanding how contemporary French technocritical thought has filtered down from avant-garde artistic movements through anthropology in an unruly technocritical genealogy offers an opportunity to reclaim the notion of the automatic, and to reconfigure our expectations and plans for our technological future.

scholarly journals Representing Bodies. Victor Brauner’s Hybrids, Fragments and Mechanisms

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 229
Author(s):  
Irina Cărăbaş
Keyword(s):  
Body Problem ◽  
The Body ◽  
Narrative Construction ◽  
Andre Breton ◽  
Modern Culture ◽  
Avant Garde ◽  
André Breton ◽  
French Culture ◽  
History Of ◽  
The Subject

The Romanian avant-garde looked for inspiration in two principal places where artists from all-over Europe gathered, confronted and discussed their ideas of a new art. While Berlin nourished the constructivist orientation of the Romanian avantgarde, Paris stimulated its interest in surrealism. Although Berlin was by far more significant as a stimulus for the synthesis of all arts and all modern movements toward which the Romanian avant-garde strove, Paris had the advantage of anemotional attachment. The French culture had been set long ago as a model for the entire Romanian modern culture and institutions. Consequently it is not surprising that poets and artists, including Victor Brauner, chosed to live and work in Paris in order to feel closer to what was considered to be the origin.Victor Brauner is discussed both in the context of the Romanian avant-garde and in the history of the French surrealism, but one cannot detect any tension between center and periphery. One motivation can be found in the myth he creates for himself. Meanwhile it is obvious that he wanted to identify himself with the French surrealism. Once settled in France he paid great attention to the theories and to the artists André Breton promoted.I will discuss the myth of the artist as well as the threads which connect Brauner to other artistic strategies bringing forth the body problem. Almost always his paintings and drawings display the ineluctable presence of a metamorphic body within no narrative construction. This preoccupation informed every stage of his career as he dedicated it the greatest energies of his artistic inventiveness. Before going into the subject, one needs to frame Brauner in a larger picture.

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