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The Color Red and its Pathetic Value in Abstract Expressionism and Late Surrealism

100%
Ippolito C.
Lublin Studies in Modern Languages and Literature
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2020
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vol. 44
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issue 2
DE
Der Artikel enthält das Abstract ausschließlich in französischer und englischer Sprache.
EN
This essay analyses the dialogue between automatism and late surrealism on the color red, with a focus on the intensity shared by painting and literature. The starting point is a collective prose poem by André Breton, Élisa Breton, and Benjamin Péret. This poem, « Riopelle », written for an exhibition of Jean-Paul Riopelle’s automatist paintings in 1949, is included in Breton’s Le Surréalisme et la peinture.
FR
On analyse dans cet essai le dialogue entre art visuel (l’automatisme de Jean-Paul Riopelle) et surréalisme tardif sur la couleur rouge, notamment en termes d’intensité. Le point de départ est un poème en prose d’André Breton, Élisa Breton, et Benjamin Péret, écrit pour une exposition de 1949 et intitulé « Riopelle ». Ce texte a été repris dans Le Surréalisme et la peinture.  
2
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Dalí, Disney and Destino: Alchemy in Animation

85%
Allen D.
Text Matters: A Journal of Literature, Theory and Culture
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2020
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issue 10
49-66
EN
Salvador Dalí claimed that he made his whole life “a work of alchemy.” He saw in alchemy the principle of metamorphosis and “the transmutation of bodies.” Carl Jung recognized “imaginatio” as the key to alchemy. As Patrick Harpur suggests: “The Work takes place in a realm intermediate between mind and matter. It is a daimonic process, a ‘chemical theatre’ in which processes and psychic transformations interpenetrate.” The alchemist does not simply work on matter, but on the self. In Dalí’s “paranoiac-critical method,” objects similarly seem to exist in an “intermediate realm between mind and matter”; they are animated presences, with a life of their own. The Dalínean double-image is itself a kind of alchemical magic, invoking the “transmutation of bodies.” In 1946, Dalí began work for the Walt Disney Company on a short film, Destino. This would be, he claimed, the “First Surrealist Cartoon.” The appeal of animation for him may have been based in part in what Eisenstein termed “plasmaticness”: the “ability to dynamically assume any form.” Animation, then, may be seen as a kind of “chemical theatre.” As a “realm between mind and matter,” it also functioned for Dalí as a form of mundus imaginalis, in which he could engage with the “obsessing” images in his psyche. In Destino, Dalí invoked the alchemical process as a journey to tranfiguration and psychological “rebirth.” The film was not completed in his lifetime; this account is based on the original storyboards which he produced.
3
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André Breton on French and Czech stages

71%
Orawczak Kunešová M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2022
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vol. 25
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issue 1
87-108
EN
The study intends to explore the impact André Breton's plays had on the interwar stagings in France and Czechoslovakia. I will focus on two of Breton's plays, If You Please (written together with Soupault in 1919, staged in Paris in 1920 and in Prague in 1928) and Le Trésor des jésuites [The Treasure of the Jesuits] (written with Aragon in 1929, world premiere in Prague in 1935, not translated in English), and their staging specificities, including the context: reasons of their staging choice, translation, and reception. The intention of this study is to contribute to the debate regarding the relationship between French and Czech Surrealism.
4
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The Politeness Systems of Address, Variations across Breton Dialects

57%
Jouitteau M.
Roczniki Humanistyczne
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2021
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vol. 69
|
issue 11
107-127
PL
Systemy zwrotów grzecznościowych – zróżnicowanie dialektalne w języku bretońskim Artykuł przedstawia w sposób syntetyczny różne systemy zwracania się w dialektach bretońskich oraz ich ewolucję w minionym wieku. W analizie uwzględniono dostępne dane oraz materiał pochodzący z badań przeprowadzonych w terenie. Opisano trzy różne systemy zwrotów: hierarchiczny (liczba mnoga jest używana w stosunku do osób znajdujących się wyżej w hierarchii), rodzajowy (liczba mnoga używana jest w odniesieniu do kobiet i dziewcząt) oraz nie-dualny (brak wykładnika liczby pojedynczej we wszystkich paradygmatach, dostępny jest jedynie zaimek w liczbie mnogiej). Poszczególne systemy umiejscowiono geograficznie, przedstawiono ich ewolucję oraz wzajemne oddziaływanie na przestrzeni ubiegłego wieku.
EN
This paper provides a synthesis of the various address systems in Breton dialects, and their evolution during the last century. It discusses the available data and provides the elicitation results from recent fieldwork. Three distinct address systems are described: hierarchical T–V (plurals are directed to superiors as a V form), gendered T–V (plurals are directed to women and girls as a V form), and non-dual (the once singular marker noted †2SG is missing in all of the paradigms, and the once plural form noted †V is the unique address pronoun and does not realise a formal marker). These systems are mapped to their respective territories of usage and an analysis is offered of the diachronic evolution and the cross-influences of these three systems over the last century. Most of the speakers in the central and southern area are restricted to a unique address pronoun, like Modern English you. This system is gaining ground towards the coasts, where a distinctive T address among male close friends or relatives gives rise to a T–V gendered system like in Welsh (Watkins). In the remaining North and South-East areas, a hierarchical T–V system organised centrally around age and social status is resisting the extension of the central area much more. Evidence is presented for independent subsystems inside both T–V systems: addresses to animals, to clergymen and to God. Occasional inversion of an expected marker serves emotionally charged interactions (aggressive T, hypocoristic V).
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