Combining historical and cultural methods of analysis with sophisticated theoretical discussions, Natalya Lusty explores how women artists and intellectuals responded to the appropriation of 'the feminine' in Surrealism and psychoanalysis. Reading work by

Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.

The Language of Surrealism explores the revolutionary experiments in language and mind undertaken by the surrealists across Europe between the wars. Highly influential on the development of art, literary modernism, and current popular culture, surrealist style remains challenging, striking, resonant and thrilling – and the techniques by which surrealist writing achieves this are set out clearly in this book. Stockwell draws on recent work in cognitive poetics and literary linguistics to re-evaluate surrealism in its own historical setting. In the process, the book questions later critical theoretical views of language that have distorted our ideas about both surrealism and language itself. What follows is a piece of literary criticism that is fully contextualised, historically sensitive, and textually driven, and which sets out in rich and readable detail this most intriguing and disturbing literature.

In the decades between the two World Wars, Greek writers and artists adopted surrealism both as an avant-garde means of overturning the stifling traditions of their classical heritage and also as a way of responding to the extremely unstable political situation in their country. Despite producing much first-rate work throughout the rest of the twentieth century, Greek surrealists have not been widely read outside of Greece. This volume seeks to remedy that omission by offering authoritative translations of the major works of the most important Greek surrealist writers. Nikos Stabakis groups the Greek surrealists into three generations: the founders (such as Andreas Embirikos, Nikos Engonopoulos, and Nicolas Calas), the second generation, and the Pali Group, which formed around the magazine Pali. For each generation, he provides a very helpful introduction to the themes and concerns that animate their work, as well as concise biographies of each writer. Stabakis anthologizes translations of all the key surrealist works of each generation—poetry, prose, letters, and other documents—as well as a selection of rarer texts. His introduction to the volume places Greek surrealism within the context of the international movement, showing how Greek writers and artists used surrealism to express their own cultural and political realities.

Despite the censorship of dissident material during the decade between the Manchurian Incident of 1931 and the outbreak of the Pacific War in 1941, a number of photographers across Japan produced a versatile body of Surrealist work. In a pioneering study of their practice, Jelena Stojkovic draws on primary sources and extensive archival research and maps out art historical and critical contexts relevant to the apprehension of this rich photographic output, most of which is previously unseen outside of its country of origin. The volume is an essential resource in the fields of Surrealism and Japanese history of art, for researchers and students of historical avant-gardes and photography, as well as forreaders interested in visual culture.

This excellent overview of new research on Dada and Surrealism blends expert synthesis of the latest scholarship with completely new research, offering historical coverage as well as in-depth discussion of thematic areas ranging from criminality to gender. This book provides an excellent overview of new research on Dada and Surrealism from some of the finest established and up-and-coming scholars in the field Offers historical coverage as well as in–depth discussion of thematic areas ranging from criminality to gender One of the first studies to produce global coverage of the two movements, it also includes a section dealing with the critical and cultural aftermath of Dada and Surrealism in the later twentieth century Dada and Surrealism are arguably the most popular areas of modern art, both in the academic and public spheres

This groundbreaking collection of thirteen original essays analyzes connections between film and two highly influential twentieth-century movements.

This title was first published in 2003. Drawing on literary, art historical and historical studies, this essay collection explores the complex encounter between culture and politics within Surrealism. The Surrealist movement was one of the first cultural movements to question explicitly the relation between culture and politics, and its attempt to fuse social and cultural revolution has been a critical factor in shaping our sense of modernity. This anthology addresses not only the contested ground between culture and politics within Surrealism itself, and within the subsequent historical accounts of the movement, but also the broader implications of this encounter on our own sense of modernity. Its goal is to delineate the role of radical politics in shaping the historical trajectory of Surrealism.

Tracing the movement from its origins in the 1920s to its decline in the 1950s and 1960s, Durozoi tells the history of Surrealism through its activities, publications, and reviews, demonstrating its close ties to some of the most explosive political, as well as creative, debates of the twentieth century. Unlike other histories, which focus mainly on the pre-World War II years of the movement in Paris, Durozoi covers both a wider chronological and geographic range, treating in detail the postwar years and Surrealism's colonization of Latin America, the United States, Japan, Czechoslovakia, Belgium, Italy, and North Africa. Drawing on documentary and visual evidence--including 1,000 photos, many of them in color--he illuminates all the intellectual and artistic aspects of the movement, from literature and philosophy to painting, photography, and film. All the Surrealist stars and their most important works are here--Aragon, Borges, Breton, Buñuel, Cocteau, Crevel, Dalí, Desnos, Ernst, Man Ray, Soupault, and many more--for all of whom Durozoi has provided brief biographical notes in addition to featuring them in the main text.

Surrealists appeared in the aftermath of World War I with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins.This refusal to integrate into the bourgeois society was also a leitmotiv of Dada artists, and André Breton asserted that Dada does not produce perspective. Surrealism emerged amidst such feeling. Surrealists and Dada artists often changed from one movement to another.They were united by their superior intellectualism and the common goal to break free from the norm. Describing the Surrealists with their aversive resistance to the system, the author brings a new approach which strives to be relative and truthful. Provocation and cultural revolution: aren’t Surrealists after all just a direct product of creative individualism in this unsettled period?