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How did women Surrealists such as Leonora Carrington and Claude Cahun take up the question of female identity in terms of their own aesthetic and intellectual practice? What was the response of women analysts such as Joan Riviere to Freud's psychoanalytic construction of femininity? These are among the questions that Natalya Lusty brings to her sophisticated and theoretically informed investigation into the appropriation of 'the feminine' by the Surrealist movement. Combining biographical and textual methods of analysis with historically specific discussions of related cultural sites such as women's magazines, fashion, debutante culture, sexology, modernist lesbian subculture, pornography, and female criminality, the book examines the ambiguities and blind spots that haunt the work of more central figures such as André Breton, Georges Bataille, Jacques Lacan, Walter Benjamin, and the Surrealist photographer Hans Bellmer. Lusty's examination of a series of psychoanalytic Surrealist themes, including narcissism, fantasy, masquerade, perversion, and 'the double', illuminates a modernist preoccupation with the crisis of subjectivity and representation and its ongoing relevance to more recent work by Cindy Sherman and Judith Butler. Her book is an important contribution to modernist studies that will appeal to scholars and students working across a diverse range of fields, including literary studies, gender studies, visual culture, cultural studies, and cultural history.
A revised edition of Whitney Chadwick’s seminal work on the women artists who shaped the Surrealist art movement. This pioneering book stands as the most comprehensive treatment of the lives, ideas, and art works of the remarkable group of women who were an essential part of the Surrealist movement. Leonora Carrington, Frida Kahlo, and Dorothea Tanning, among many others, embodied their age as they struggled toward artistic maturity and their own “liberation of the spirit” in the context of the Surrealist revolution. Their stories and achievements are presented here against the background of the turbulent decades of the 1920s, ’30s, and ’40s and the war that forced Surrealism into exile in New York and Mexico. Whitney Chadwick, author of the highly acclaimed Women, Art, and Society, interviewed and corresponded with most of the artists themselves in the course of her research. Women Artists and the Surrealist Movement, now revised with a new foreword by art historian Dawn Ades, contains a wealth of extracts from unpublished writings and numerous illustrations never before reproduced. Since this book was first published, it has acquired the undeniable status of a classic among artists, art historians, critics, and cultural historians. It has inspired and necessitated a revision of the story of the Surrealist movement.
A critical study of Louise Bourgeois's art from the 1940s to the 1980s: its departure from surrealism and its dialogue with psychoanalysis.
This book examines the salient ideas and practices that have shaped Surrealism as a protean intellectual and cultural concept that fundamentally shifted our understanding of the nexus between art, culture, and politics. By bringing a diverse set of artistic forms and practices such as literature, manifestos, collage, photography, film, fashion, display, and collecting into conversation with newly emerging intellectual traditions (ethnography, modern science, anthropology, and psychoanalysis), the essays in this volume reveal Surrealism's enduring influence on contemporary thought and culture alongside its anti-colonial political position and international reach. Surrealism's fascination with novel forms of cultural production and experimental methods contributed to its conceptual malleability and temporal durability, making it one of the most significant avant-garde movements of the twentieth century. The book traces how Surrealism's urgent political and aesthetic provocations have bequeathed an important legacy for recent scholarly interest in thing theory, critical vitalism, new materialism, ontology, and animal/human studies.
Dreams and Modernity: A Cultural History explores the dream as a distinctively modern object of inquiry and as a fundamental aspect of identity and culture in the nineteenth and early twentieth century. While dreams have been a sustained object of fascination from the ancient world to the present, what sets this period apart is the unprecedented interest in dream writing and interpretation in the psychological sciences, and the migration of these ideas into a wide range of cultural disciplines and practices. Authors Helen Groth and Natalya Lusty examine how the intensification and cross-fertilization of ideas about dreams in this period became a catalyst for new kinds of networks of knowledge across aesthetic, psychological, philosophical and vernacular domains. In uncovering a complex and diverse archive, Dreams and Modernity reveals how the explosion of interest in dreams informed the psychic, imaginative and intimate life of the modern subject. Individual chapters in the book explore popular traditions of dream interpretation in the 19th century; the archival impetus of dream research in this period, including the Society for Psychical Research and the Mass Observation movement; and the reception and extension of Freud’s dream book in Britain in the early decades of the twentieth century. This engaging interdisciplinary book will appeal to both scholars and upper level students of cultural studies, cultural history, Victorian studies, literary studies, gender studies and modernist studies.
"Nadja, " originally published in France in 1928, is the first and perhaps best Surrealist romance ever written, a book which defined that movement's attitude toward everyday life. The principal narrative is an account of the author's relationship with a girl in teh city of Paris, the story of an obsessional presence haunting his life. The first-person narrative is supplemented by forty-four photographs which form an integral part of the work -- pictures of various "surreal" people, places, and objects which the author visits or is haunted by in naja's presence and which inspire him to mediate on their reality or lack of it. "The Nadja of the book is a girl, but, like Bertrand Russell's definition of electricity as "not so much a thing as a way things happen, " Nadja is not so much a person as the way she makes people behave. She has been described as a state of mind, a feeling about reality, k a kind of vision, and the reader sometimes wonders whether she exists at all. yet it is Nadja who gives form and structure to the novel.
With this important new book, Susan Suleiman lays the foundation for a postmodern feminist poetics and theory of the avant-garde. She shows how the figure of Woman, as fantasy, myth, or metaphor, has functioned in the work of male avant-garde writers and artists of this century. Focusing also on women's avant-garde artistic practices, Suleiman demonstrates how to read difficult modern works in a way that reveals their political as well as their aesthetic impact. Suleiman directly addresses the subversive intent of avant-garde movements from Surrealism to postmodernism. Through her detailed readings of provocatively transgressive works by André Breton, Georges Bataille, Roland Barthes, Alain Robbe-Grillet, Marcel Duchamp, Max Ernst, and others, Suleiman demonstrates the central role of the female body in the male erotic imagination and illuminates the extent to which masculinist assumptions have influenced modern art and theory. By examining the work of contemporary women avantgarde artists and theorists--including Hélène Cixous, Marguerite Duras, Monique Wittig, Luce Irigaray, Angela Carter, Jeanette Winterson, Leonora Carrington, Barbara Kruger, Jenny Holzer, and Cindy Sherman--Suleiman shows the political power of feminist critiques of patriarchal ideology, and especially emphasizes the power of feminist humor and parody. Central to Suleiman's revisionary theory of the avant-garde is the figure of the playful, laughing mother. True to the radically irreverent spirit of the historical avant-gardes and their postmodernist successors, Suleiman's laughing mother embodies the need for a link between symbolic innovation and political and social change.
Surrealist Women displays the range and significance of women's contributions to surrealism. Penelope Rosemont, affiliated with the Paris Surrealist Group in the 1960s and now a Chicago poet and painter, has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the origins of the movement.The texts are organised into historical periods ranging from the 1920s to the present, with introductions describing trends in the movement for each period; and each surrealist's work is prefaced by a brief biographical statement. Authors include El Allailly, Bruna, Cunard, Carrington, Cesaire, Gauthier, Giovanna, van Hirtum, Kahlo, Levy, Mansour, Mitrani, Pailthorpe, Joyce Peters, Rahon, Svankmajerova, Taub, Zangana>
An old woman enters into a fantastical world of dreams and nightmares in this surrealist classic admired by Björk and Luis Buñuel. Leonora Carrington, painter, playwright, and novelist, was a surrealist trickster par excellence, and The Hearing Trumpet is the witty, celebratory key to her anarchic and allusive body of work. The novel begins in the bourgeois comfort of a residential corner of a Mexican city and ends with a man-made apocalypse that promises to usher in the earth’s rebirth. In between we are swept off to a most curious old-age home run by a self-improvement cult and drawn several centuries back in time with a cross-dressing Abbess who is on a quest to restore the Holy Grail to its rightful owner, the Goddess Venus. Guiding us is one of the most unexpected heroines in twentieth-century literature, a nonagenarian vegetarian named Marian Leatherby, who, as Olga Tokarczuk writes in her afterword, is “hard of hearing” but “full of life.”
In the most comprehensive study of Jacques Lacan yet to be published in English, David Macey challenges many of the assumptions that have come to surround Lacan's work. He shows that key elements of Lacanian thought relate not to structuralism, as is often claimed, but to surrealism, Bataille and the early French phenomenologists. The famous "return to Freud" is shown to mask Lacan's adherence to a psychiatric tradition and to trends within French psychoanalysis which were opposed by Freud himself. A detailed and challenging reading of work by Lacan and his associates on femininity reveals its reliance upon a virulently sexist discourse and upon an iconography derived from surrealism. The view that Lacanian psychoanalysis has a positive contribution to make to feminism and to theories of gender and sexual difference is contested. As well as providing a new and provocative reading of Lacan's work, Lacan in Contexts is an important contribution to psychoanalytic history and to the history of French intellectual life.