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1

Schizofreniczny surrealizm ekranu

100%

Giżycki M.

Kwartalnik Filmowy

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2010

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issue 70

224-227

PL

Autor przedstawia swoje refleksje dotyczące wyszperanej w antykwariacie książki Williama Earle’a "Surrealizm of the Movies" (1987). William Earle (1919-1988), wykładowca filozofii na Northwestern University w Chicago, był autorytetem od egzystencjalizmu i fenomenologii. Pozostawił po sobie kilka książek o tematyce filozoficznej i jedną poświęconą kinu, która – wbrew tytułowi – nie jest wcale historią filmu surrealistycznego, ale zbiorem erudycyjnych i wyjątkowo zjadliwych esejów o tradycyjnym kinie. Rozważania filozofa dotyczące ontologii kina prowadzą go do konkluzji, że surrealizm jest wpisany w istotę kina. Giżycki zauważa, że pasjonujące eseje Earle’a czyta się w dużej mierze jak manifest kina antyrealistycznego. Chciałoby się więc tezy filozofa skonfrontować z praktykę – wiadomo bowiem (z okładki książki odkrytej w antykwariacie), że Earl zrealizował ponad 20 „surrealistyczno-dadaistycznych” filmów. Niestety, próżno ich szukać w filmotekach, sklepach czy Internecie. Giżycki pyta: "A może po prostu nigdy nie powstały, są tylko dadaistyczno-surrealistycznym żartem?"

EN

The author presents his reflection upon a book by William Earle – "Surrealism of the Movies" (1987). William Earle (1919-1988) was a philosophy lecturer at the Northwestern University of Chicago, and an expert on existentialism and phenomenology. He wrote a number of books on philosophy and one about cinema, which, contrary to the title, is not a history of surrealistic films, but a collection of erudite and virulent essays on traditional films. The reflections of the philosopher on the ontology of film lead him to think that surrealism is part of the essence of cinema. Gizycki also notes, that Earle’s essays can be read as a manifest of antirealist film. It would be interesting to confront the theories of the philosopher with his practice, as after all the back cover of the book informs that he is known to have made over 20“surrealist-dadaistic” films. However it is futile to look for these films in shops, internet or film libraries. therefore Gizycki asks: "Perhaps these films were never created, and are only a dadaistic-surrealist joke?"

2

The Return of the Surreal: Towards a Poetic and Playful Sociology

38%

Foster V.

Qualitative Sociology Review

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2019

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vol. 15

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issue 1

148-164

EN

This article argues that the time is ripe to reacquaint sociology and surrealism. Taking inspiration from surrealism’s emphasis on making the ordinary strange through bizarre, lively and sometimes haunting methods might result in a more poetic and playful sociology. The article looks at how this might be applied in practice through drawing on a variety of examples of social research that share some of the tenets of surrealism, not least the latter’s focus on social justice. This enables discussion of a number of methodological concerns stemming from feminist and post-structuralist thought, including the troubling of narrative coherency and the notion of “voice.” Infusing sociology with “a surrealist spirit” requires opening up and moving away from rationality in ways that allow for the exploration of contradictions, irreverence, humor, and paradox.

3

Surreally Human: Jan Švankmajer’s World of Self-Destructive Puppets

38%

Chryssouli G.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2015

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vol. 18

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issue 2

303-328

EN

This article explores the relation of Jan Švankmajer with the Czech puppet tradition, viewing his puppetry through a Surrealist prism and investigating the role of puppets in his work, as simultaneously inert objects and animated creatures that cross the dichotomous line between life and death, thereby raising questions in relation to human nature and identity. Jan Švankmajer is a leading Czech filmmaker and artist and a self-proclaimed militant surrealist. His work is characterised by a diversity of means and techniques, these include: live-action, puppets, clay modelling, traditional drawn animation, object collage, stop-frame special effects and stop-motion animation. Švankmajer’s fascination with the corporeality of an animated entity has been developed through a deep and strong affinity with traditional Czech theatre. His own professional background in the puppet theatres of Prague, the Theatre of Masks, the Black Theatre and the Laterna Magika Puppet Theatre has significantly influenced his work. Švankmajer’s work is the bearer of a magic function, revealing the marvellous through mystification. Švankmajer, like the alchemists of old, is continually distilling the water of his experiences so that through this process, the heavy water of knowledge, essential for the transmutation of life, begins to flow.

4

Surréalisme en 1947 – occultism and the post-war marginalisation of Surrealism

32%

Kuczyńska A.

Art Inquiry. Recherches sur les arts

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2014

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vol. XVI (XXV)

87-99

EN

The exhibition Surréalisme en 1947, organised in Paris (Galerie Maeght) by André Breton and Marcel Duchamp was an attempt to consolidate and reorient the Surrealist move-ment in the post-war reality. According to the trend set by Breton in his Rupture inaugurale, Surrealism was going to become tied with occultism more strongly than ever before. The exhibition, whose main topic was “a new myth", was arranged in the form of an initiation path, consisting of the Hall of Superstitions, the Labyrinth of Initiation, etc. One reason for the critical panning of the exhibition was the fact that in that period all forms of esoteric trends were associated with Fascism, and myth was more and more frequently acknowledged as an obstacle in building new, rationally organised society. The aim of this paper is to present how the strategy of Breton, who proclaimed the need for establishing “a new myth" and connecting Surrealism with occultism against the Paris intellectual milieu, contributed to the marginalisation of the Surrealist movement.

PL

Zorganizowana w Paryżu (Galerie Maeght) przez André Bretona i Marcela Duchampa wy-stawa Surréalisme en 1947 była próbą skonsolidowania i reorientacji ruchu surrealistycznego w powojennej rzeczywistości. Zgodnie z kierunkiem, który Breton wyznaczył w Rupture inaugurale, surrealizm miał związać się silniej niż kiedykolwiek przedtem z okultyzmem. Głównym tematem wystawy był “nowy mit”. Zaplanowana została jako rodzaj ścieżki ini-cjacyjnej. Znalazły się tam m.in. Sala Przesądów, Totem Wszystkich Religii, Labirynt Ini-cjacji, etc. Jednym z powodów krytycznego przyjęcia wystawy był fakt, że w tym czasie wszelkiego rodzaju ezoteryczne prądy kojarzyły się z faszyzmem, a mit coraz częściej uzna-wano za przeszkodę w budowie nowego, racjonalnie zorganizowanego społeczeństwa. Celem artykułu jest wskazanie, w jaki sposób strategia Bretona, który głosił potrzebę stworzenia “nowego mitu” i związania surrealizmu z okultyzmem wbrew niechętnie nastawio-nemu do ezoterycznych nurtów środowisku intelektualnemu powojennego Paryża, przyczyniła się do marginalizacji tego kierunku.

5

André Breton on French and Czech stages

32%

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.

6

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

32%

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.

7

Tematizace avantgardy v pozdním díle Karla Teiga

32%

Kanda R.

Studia Slavica

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2014

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vol. 18

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issue 2

77-86

EN

The study focuses on the late period of Karel Teige’s theoretical development. In the introduction, which is based on Effenberger’s chronological model, is discussed issue of the chronology of Teige’s works. In the first part, the author focuses on the theoretical aspects of the concept of “internal model”. This concept forms the conceptual base of Teige’s theory of the avant-garde art, especially Cubism and Surrealism. Genealogy of the concept goes from Breton to Mannerists Federico Zuccari (c. 1540/1541–1609), who distinguished disegno interno (the neoplatonic “idea”) and disegno esterno (its “practical implementation”). “The internal model” defines–ontologically and epistemologically–the avant-garde as non-mimetic and radically experimental art. In the second part, the author analyzes Teige’s essays “Entartete Kunst” (1945), “The fate of the artistic avant-garde in both World Wars” (Osud umělecké avantgardy v obou světových válkách, 1946) and “International Surrealism” (Mezinárodní surrealismus, 1947) as a second way of thematization of the avant-garde. Even in the years after World War II Teige not abandon the militant rhetoric of avant-garde manifestos or model of organic development of art. In the third part, the author deals with the unfinished project Phenomenology of Art (Fenomenologie umění, 1951), i.e. the part of Teige’s work, which Effenberger called “historiologic”. Teige was an original Marxist thinker, who interprets aesthetic and artistic issues in the historical context of socioeconomic changes. The author suggests comparison Teige’s Phenomenology of Art Walter Benjamin and The Arcades-Projekt (Das Passagen-Werk, 1940).

8

Between Brueghel, Surrealism, and New Realism: Wachsman's stage design for Heavy Barbara

32%

Šlaisová E.

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

109-136

EN

In 1937, Jiří Voskovec and Jan Werich wrote and staged the play Těžká Barbora [Heavy Barbara], which was inspired by the art of Pieter Brueghel the Elder and represents a unique experiment involving dramatisation and theatricalisation of his paintings. This article focuses on Alois Wachsman's scenography for this play and explores it in relation to Brueghel's paintings; the poetics and humour of Voskovec and Werich; trends and artists of the period; Wachsman's scenography for the National Theatre; and his paintings. The study brings attention to the previously unknown fact that Wachsman created two different versions of the set design for Heavy Barbara. Both versions alluded to Brueghel; however, one was inspired by Surrealism/ Wachsman's imaginative painting, while the other accentuated the folk atmosphere of the play through its use of New Realism and New Objectivity.

9

The Persistence of Poetry in Karel Teige’s Outlook

26%

Silverman T.

Slovo a smysl - Word & Sense

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2021

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vol. 18

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issue 36

64-78

EN

Karel Teige’s enduring interest in the essence of poetry may help explain the outward promotion of his 1920s textual-visual works in contrast to his more muted treatment of the Surrealist photomontage collages that he produced from 1935 to 1951. Teige, a central figure of the Czechoslovak avantgarde, demonstrated throughout his voluminous theoretical pieces a continuous fixation on poetry. He wrote and published rationales for his earlier textual-visual works, yet left a lack thereof concerning his 374 Surrealist photomontages. Though Teige declared himself a Surrealist in 1934, Surrealism may not have interested him in the same way as Czechoslovak Poetism or the implementation of aesthetic concepts borrowed from his counterparts in Russia and Germany. In this essay, Teige’s proclamations about pictorial matters, poetry, modern art ideologies, typography, and the ‘inner model’ theory have been applied towards his pre-Surrealist, textual-visual works, in contradistinction to his later photomontages, to suggest why he did not promulgate the latter artworks to the same extent as the former. Examples of his 1920s picture poems in a lucid Poetist style present harmonized layouts of words, symbols, and cut-outs arranged into semiotic order. As a typographer, Teige stressed the importance of the ‘nature, rhythm, and flow’ of poetic texts, and his works also reveal careful reflection on the design of graphemes. It is, however, his fascination with linguistic matters, e.g. poetry and letters — a matter in which many of his Surrealist collages appear not to have taken much interest — that remains most obscure, lacking any contextual explanation. Suffused with fragmented corporeal forms and erotic imagery amid variegated scenery, Teige’s vivid post-1935 photomontages have drawn the attention and speculation of many art historians.

10

Transcriptions poétiques du voyage de Philippe Soupault à Prague

26%

Ireland S.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

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vol. Special Issue: Le monde de la litérrature

74-83

EN

In Czech avant-garde periodicals Soupault published several texts expressing his enthusiasm in Prague among artists who lived there. Nezval replied to Soupault by a poem, and so they started a dialogue through texts. Motifs that circulate through texts of both poets are germ of shared poetic language who gives to reality a new light : Nezval and Soupault composing with reality, compose it.

11

O wędrówce tendencji w malarstwie z Europy do Nowego Świata, czyli Meksyk surrealistyczny

26%

Popczyk M.

Ameryka Łacińska. Kwartalnik analityczno-informacyjny

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2015

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vol. 23

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issue 1(87)

5-26

PL

Kiedy w Europie wybuchła druga wojna światowa, w rządzonym przez Prezydenta Lázaro Cáredenasa Meksyku znalazła schronienie grupa europejskich surrealistów, do której należeli m.in. Wolfgang Paalen, Benjamin Péret, Leonora Carrington, Remedios Varo i Alice Rahon. Choć po zakończeniu konfliktu w Europie część z nich wróciła na Stary Kontynent, znaleźli się też tacy, którzy z Meksyku uczynili swoją drugą ojczyznę. Niniejszy artykuł w zwięzły sposób ukazuje proces przenoszenia idei surrealistycznych, przede wszystkim w malarstwie, ze Starego do Nowego Świata. Przedstawione zostały pierwsze kontakty surrealistów z Meksykiem, duchowe powiązania pomiędzy surrealizmem i kulturą meksykańską, a także moment zorganizowania pierwszej międzynarodowej wystawy sztuki surrealistycznej w Meksyku w 1940 roku. Analizie zostały poddane możliwości przyjęcia surrealistycznej sztuki na gruncie meksykańskim oraz wpływ obecności europejskich surrealistów w Meksyku na panoramę współczesnej sztuki meksykańskiej.

EN

When the Second World War broke out, Mexico, governed by President Lázaro Cárdenas, became a shelter for a group of European surrealists, including among others Wolfgang Paalen, Benjamin Péret, Leonora Carrington, Remedios Varo and Alice Rahon. Even though after the end of war in Europe some of them decided to go back to their countries, a part of the group converted Mexico into their second homeland. In a concise way this article presents a process of transferring surrealist ideas, mainly in painting, from the Old to the New World. First contacts between surrealists and Mexico, spiritual link between surrealism and mexican culture and a moment of inauguration of the first international surrealist exhibition in Mexico in 1940 were described. Possibilities of accepting surrealist art on mexican terrain as well as the influence of the european surrealists’ presence in Mexico on contemporary mexican art were also analysed.

12

Od sociálně-demokratické spirituality k socialistickému realismu: koncept lidovosti v myšlení Jindřicha Honzla o divadle

20%

Kunderová R.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue 1

188-215

EN

The study examines the concept of "the popular" in the thinking of theatre director and theorist Jindřich Honzl (1894–1953). By analyzing his essays and articles, the essay describes the changes in Honzl's approach to the popular as reflected in his critical writing during his theatre career and as placed within the context of politics and theatre history. Based on the discussion of existing Czech theatre historiographic literature about Honzl (the majority of which was published before 1989), the study offers novel findings and connections, many of which have been ignored, often for ideological reasons. The essay brings a close study of Honzl's sources of inspiration, from the beginnings of his work in the era of the so-called proletarian theatre, especially by embedding Honzl's thinking in the social democratic ideology and his knowledge of post-revolutionary Soviet theatre until 1925. The essay subsequently offers a characterization of the changes in Honzl's understanding of "the popular" during his Poetism and Surrealist phases, as well as after the Second World War, when he converted to Socialist Realism.

CS

Studie zkoumá koncept lidovosti v myšlení divadelního režiséra a teoretika Jindřicha Honzla (1894–1953). Prostřednictvím analýzy jeho studií a článků autorka pojmenovává proměny pojetí lidovosti v Honzlově uvažování během jeho divadelní kariéry a zasazuje je do divadelně-historického a politického kontextu. Na základě diskuse s dosavadní českou divadelně-historiografickou literaturou o Honzlovi, jejíž většina byla publikována před rokem 1989, přináší studie poznatky a souvislosti, které byly dosud – nezřídka z ideologických důvodů – opomíjeny. Autorka se podrobně zabývá Honzlovými inspiračními zdroji na počátku jeho divadelní činnosti v období tzv. proletářského divadla, zejména ukotvením Honzlova myšlení v sociálně-demokratické ideologii a jeho obeznámeností s porevolučním sovětským divadlem do roku 1925. Následně charakterizuje proměny Honzlova chápání lidovosti divadla v průběhu jeho poetistického a surrealistického období a po konci druhé světové války, kdy se přiklonil k socialistickému realismu.

Refine search results

Schizofreniczny surrealizm ekranu

The Return of the Surreal: Towards a Poetic and Playful Sociology

Surreally Human: Jan Švankmajer’s World of Self-Destructive Puppets

Surréalisme en 1947 – occultism and the post-war marginalisation of Surrealism

André Breton on French and Czech stages

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

Tematizace avantgardy v pozdním díle Karla Teiga

Between Brueghel, Surrealism, and New Realism: Wachsman's stage design for Heavy Barbara

The Persistence of Poetry in Karel Teige’s Outlook

Transcriptions poétiques du voyage de Philippe Soupault à Prague

O wędrówce tendencji w malarstwie z Europy do Nowego Świata, czyli Meksyk surrealistyczny

Od sociálně-demokratické spirituality k socialistickému realismu: koncept lidovosti v myšlení Jindřicha Honzla o divadle