scholarly journals Uso y significado de los objetos en la literatura francesa surrealista

2014 ◽  
Vol 23 ◽  
Author(s):  
Jordi Luengo López
Keyword(s):  
Andre Breton ◽  
Written Text ◽  
Louis Aragon ◽  
André Breton ◽  
The World ◽  
Physical Level ◽  
The Way

El uso que en los textos surrealistas se le da a los objetos, constituye una de las bases de comunicación del pensamiento onírico de esta corriente artística, cuyo significante se reconoce en el particular modo de ver el mundo que tuvieron algunos escritores franceses. Centrándonos en la obra de André Breton y Louis Aragon se abordará este fenómeno a través del análisis del proceso de cristalización del objeto psíquico en el plano físico del texto escrito, no solo como elemento constituyente de la narración, sino también como objeto en sí al concebirse como poema-objeto o identificarse con el propio surrealismo.The use of objects in surrealist texts is one of the bases for communicating oneiric thought in this artistic movement, the meaning of which is recognised in the particular way that some French writers had of seeing the world. Focusing on the work of André Breton and Louis Aragon, this phenomenon is approached through an analysis of the process in which the psychological object is crystallised in the physical level of the written text, not only as an component of the narrative, but also as an object in its own right, in the way it is conceived as a poem-object or identified with surrealism itself.

Aragon, Louis (1897–1982)

2018 ◽  
Author(s):  
Christina Svendsen
Keyword(s):  
Communist Party ◽  
Andre Breton ◽  
Love Poetry ◽  
Army Medical ◽  
Louis Aragon ◽  
André Breton ◽  
Philippe Soupault ◽  
German Philosopher ◽  
French Author ◽  
French Communist Party

French author Louis Aragon was a member of the surrealist movement until he split with André Breton and began to devote more of his energy to the Communist Party. He is best known for his love poetry and his novel, Paris Peasant. Educated as a physician, Aragon joined the army medical corps and met André Breton there. The two joined Dada in 1919 and became founding members of the surrealist movement along with Philippe Soupault in 1924. Aragon’s first two poetry collections were highly surrealist in style, but he was criticized by the group after he published Le Paysan de Paris [Paris Peasant], a novel and dialectical meditation on areas of Paris about to be destroyed by modernization. This book deeply influenced the German philosopher Walter Benjamin. Soon after he joined the French Communist Party in 1927, Aragon was ejected from the surrealist movement.

Island Politics

2018 ◽  
Vol 3 (3) ◽  
pp. 311-333
Author(s):  
Delia Ungureanu
Keyword(s):  
World System ◽  
New Guinea ◽  
French Translation ◽  
Andre Breton ◽  
Cultural Centers ◽  
André Breton ◽  
The Pacific ◽  
The World ◽  
Literary Histories

Abstract In 1929, the father of surrealism André Breton and his friends published a “world map in the time of the surrealists,” which placed the Pacific in the center with a disappearing Europe and a nonexistent USA, and showing oversized islands from New Guinea to Ireland. During the 1930s, surrealist ideas and practices were creatively transformed beyond recognition by marginal writers who had emigrated to and/or excommunicated surrealists living in Paris. Looking beyond Casanova’s and Moretti’s centers and (semi)peripheries that organize the world system, I argue that by thinking instead of cultural centers like Paris as inhabited simultaneously both by central but also by (semi)peripheral writers we may get new and more nuanced insights into the circulation and transformation of ideas beyond the traditional story of surrealism told by literary histories. Using the example of the French translation of Joyce’s “Anna Livia Plurabelle,” I uncover the hidden story of the transformation of Joyce’s text into a surrealist cognate from the peripheries of surrealism itself.

L’Amour fou Revisited: The Surrealist Poetics of Michel Gondry

2020 ◽  
pp. 89-101
Author(s):  
Sian Mitchell
Keyword(s):  
Intimate Relationships ◽  
Andre Breton ◽  
Space And Time ◽  
André Breton ◽  
Visual Style ◽  
Temporal Qualities ◽  
The Way

Sian Mitchell’s chapter traces the legacy of Frenchpoetic realist director Jean Vigo (1905–34) in Gondry’s work. Drawing on the surrealist theories of André Breton, this chapter argues that early surrealism has influenced not only Gondry’s visual style, but also his thematic interests. This chapter notes how Gondry aesthetically explores the surrealist concept of l’amour fou (mad love), which appears in the way he depicts the intimate relationships of his protagonists as transforming the ontological and temporal qualities of their environments. This chapter examines Gondry’s films Eternal Sunshine of the Spotless Mind and Mood Indigo for traces of this influence and draws connections to Vigo’s iconic L’Atalante (1934), positioning these works in the lineage of cinematic depictions of mad love. This chapter argues that in both Gondry’s and Vigo’s films, l’amour fou is embodied through a love that also challenges normative conceptions of space and time.

scholarly journals Mitologia moderna e iluminação profana: um breve passeio pelos caminhos do surrealismo

Em Tese ◽  
2017 ◽  
Vol 22 (2) ◽  
pp. 266
Author(s):  
Lucas Toledo de Andrade
Keyword(s):  
Walter Benjamin ◽  
Andre Breton ◽  
Louis Aragon ◽  
André Breton

Esse artigo pretende investigar as relações entre mito e literatura trazidas pelo movimento surrealista, bem como o conceito de iluminação profana, oriundo dos estudos de Walter Benjamin a respeito dessa vanguarda. Para isso pretende-se abordar algumas criações elaboradas por importantes nomes do surrealismo, como é o caso de André Breton e Louis Aragon, por meio de uma leitura que tratará da possibilidade da criação de uma mitologia moderna e da relação disso com a ideia de iluminação profana, em obras como Nadja e Camponês de Paris, ambas de 1928, além disso, busca-se tratar do modo como o uso dos mitos, ressignificados na modernidade, por meio da aproximação entre arte e vida, permitiria um novo olhar do homem para o seu tempo e para o mundo que o rodeava, o que poderia, em última instância, revelar caminhos que levariam a transformação e ao reencantamento da realidade.  

scholarly journals L’un dans l’autre

Revue Romane ◽  
2010 ◽  
Vol 45 (1) ◽  
pp. 91-116 ◽  
Author(s):  
Philippe Gréa
Keyword(s):  
The Other ◽  
Andre Breton ◽  
André Breton ◽  
The One ◽  
The Way

L’un dans l’autre (“The one in the other”) is the name of a surrealist collective game created in the fifties by André Breton. Less famous than the exquisite cadavers, it is based on a particular use of the threaded metaphor and consists in an enigma that has to be cracked by the players. On the basis of Rastier 1987’s interpretive semantics, this study describes the semantic foundations of the game and the mechanisms that lead to the discovery of the solution. It shows how l’un dans l’autre forms what can be called a semic complex and how a rule of optimality eventually paves the way towards the answer.

Becoming Politicized

2017 ◽  
Vol 225 (4) ◽  
pp. 324-335 ◽  
Author(s):  
Dimitrios Barkas ◽  
Xenia Chryssochoou
Keyword(s):  
Collective Identity ◽  
Political Socialization ◽  
Greek Society ◽  
Economic Vulnerability ◽  
The World ◽  
The Future ◽  
Identity Model ◽  
Beliefs About The Future ◽  
Of Greece ◽  
The Way

Abstract. This research took place just after the end of the protests following the killing of a 16-year-old boy by a policeman in Greece in December 2008. Participants (N = 224) were 16-year-olds in different schools in Attiki. Informed by the Politicized Collective Identity Model ( Simon & Klandermans, 2001 ), a questionnaire measuring grievances, adversarial attributions, emotions, vulnerability, identifications with students and activists, and questions about justice and Greek society in the future, as well as about youngsters’ participation in different actions, was completed. Four profiles of the participants emerged from a cluster analysis using representations of the conflict, emotions, and identifications with activists and students. These profiles differed on beliefs about the future of Greece, participants’ economic vulnerability, and forms of participation. Importantly, the clusters corresponded to students from schools of different socioeconomic areas. The results indicate that the way young people interpret the events and the context, their levels of identification, and the way they represent society are important factors of their political socialization that impacts on their forms of participation. Political socialization seems to be related to youngsters’ position in society which probably constitutes an important anchoring point of their interpretation of the world.

Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music

2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey
Keyword(s):  
Film Music ◽  
The World ◽  
British Cinema ◽  
Film Making ◽  
The Way

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.

Profilometry. Using Corneo-scleral topography for scleral lens fitting

The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer
Keyword(s):  
Ocular Surface ◽  
World Wide ◽  
Contact Lenses ◽  
The Past ◽  
The World ◽  
The Future ◽  
The Way

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.

Nadja: um diálogo entre a psicanálise e o surrealismo

2020 ◽  
pp. 14-28
Author(s):  
Ramaiana Freire Cardinali ◽  
Christian Ingo Lenz Dunker
Keyword(s):  
Andre Breton ◽  
André Breton

Este artigo traz uma leitura interdisciplinar de Nadja, romance escrito por André Breton em 1928, a partir das concepções de realidade propostas pelos surrealistas e pela psicanálise. No surrealismo, através da critica ao realismo, surge o conceito de surreal, com o qual artistas passaram a se exprimir em produções artísticas e em uma conduta particular de vida no pós-guerra. Na psicanálise, Freud foi levado a superar a dicotomia entre interno/externo, assim como entre normal/patológico, implicando, com isso, uma nova concepção de realidade, que posteriormente foi reformulada por Lacan sob o conceito de real. Esta leitura traz como decorrência a denúncia ao conformismo e a superação das falsas dicotomias, ensejando, tanto com a psicanálise quanto com o surrealismo, uma transformação na práxis do sujeito.

Los criterios de textualidad en la hermenéutica de Paul Ricoeur. Un análisis crítico

2008 ◽  
Vol 14 ◽  
Author(s):  
Adrián Bertorello
Keyword(s):  
Structural Analysis ◽  
Reading Strategies ◽  
Paul Ricoeur ◽  
Material Base ◽  
The World ◽  
Paul Ricœur ◽  
Text Writing ◽  
The Way

RESUMENEl trabajo examina críticamente la afirmación central de la hermenéutica de Paul Ricoeur, a saber, que el soporte material de la escritura es el rasgo determinante para que una secuencia discursiva sea considerada como un texto. La escritura cancela las condiciones fácticas de la enunciación y crea, de este modo, un ámbito de sentido estable en el que se puede validar una concepción de la subjetividad que está implicada en las dos estrategias de lecturas (el análisis estructural y la apropiación), esto es, un sujeto pasivo que se constituye por la idealidad del significado. Asimismo, el trabajo intentará precisar una serie de ambigüedades en el uso que Ricoeur hace del «ser en el mundo» para sostener la referencialidad del discurso.PALABRAS CLAVETEXTO, ESCRITURA, REFERENCIA, SUBJETIVIDAD, MUNDOABSTRACTThis paper critically examines the main assertion of Paul Ricoeur´s hermeneutics, i.e., that the material base of writing is the determining feature to consider a discursive sequence as a text. Writing cancels the factual conditions of enunciation and creates, in this way, a background of stable meaning where it is possible to validate a conception of subjectivity implicated in the two reading strategies (the structural analysis and the appropriation), i.e., a passive subject constituted by the ideality of meaning. Likewise, this paper aims to clarify some ambiguities in the way Ricoeur uses the «beings in the world» to support the discourse referentiality.KEY WORDSTEXT, WRITING, REFERENCE, SUBJECTIVITY, WORLD

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