Resultaten voor 'andre breton'

1. Andre Breton

Cavalier Perspective

"Finally available in English, Cavalier Perspective: Last Essays 1952-1966 delivers something precious from the founder of Surrealism."—Allan Graubard, Rain Taxi Review of Books "Cavalier Perspective is a highly welcome addition to the body of Breton's work in English translation. The Breton of these late writings may be diminished, but he is far from depleted. . . . City Lights' edition of this collection is beautifully presented. Austin Carder's translation of Breton's notoriously labyrinthine prose reads well, and Caples' scholarly introduction helpfully situates Cavalier Perspective within the context of Breton's history as well as in relation to some of today's social and political concerns. In addition, the endnotes following individual pieces provide useful information on the people and events referred to in the texts."—Daniel Barbiero, The Compulsive Reader "Breton identified the ailments as Enlightenment positivism and the modes of industrial civilization that followed in its wake, which reduce people to small, interchangeable parts in a logical, orderly world. Perhaps what we now instinctively define as 'surreal' are the instances when the mask of that world falls away, revealing something far stranger, less predictable, and more protean beneath it — the same forces of the unconscious that Breton wanted us to harness."—Nolan Kelly, Hyperallergic "Cavalier Perspective ranges over the final phase of André Breton's career; more than just essays, the book collects assorted reportage, interviews, survey responses, and letters—including a number of forewords and prefaces written for other writers' books, offering a balanced portrait of the man who founded and sustained one of the twentieth century's most influential arts movements."—Eric Bies, Asymptote "Forty essays are shared here, wildly ranging in subject and theme, from prefaces to books by friends, lectures presented at symposiums, ruminations on magic, communism, astrology, the language of stones, the feverish visions of Robert Desnos and Antonin Artaud and everything else in between. Anyone interested in understanding how Dada morphed into Surrealism and how Surrealism morphed into Fluxus, then into pop art, then into conceptual art, and beyond, would be well served by picking up Monsieur Breton's fabulous guided tour to the avant-garde cultural map of the last century."—Donald Brackett, Embodied Meanings: The Brackett Newsletter "Breton died two years short of May '68 but his principles were under every paving stone. Whether he is citing Aime Césaire's Discourse on Colonialism as a 'pure source' in the struggle against empire, or reasserting his faith that dreams are 'guiding instructions,' Breton is clearer than ever here. Cavalier Perspective also contains my favorite Breton quote about writing: 'in relation to everything that could be considered aberrant and unbearable, it should from the outset demonstrate a desire to intervene.'"—Sasha Frere-Jones, author of Earlier "Cavalier Perspective is André Breton's last book, sensitively assembled by his friend Marguerite Bonnet from occasional texts written during the final decade and a half of his life. It shows him as a significant chronicler of his age, one who was fully engaged with the issues of his time, many of which are still of relevance and vital importance for us today."—Michael Richardson, general editor of The International Encyclopedia of Surrealism "Addressing all the major themes that preoccupied Breton throughout his career—from Trotskyism and anti-colonialism to anti-rationalism, the role of the marvelous, and the 'complete liberation of poetry and, through it, of life'—these late essays amount to the last word of one of the most influential aesthetic minds of the 20th century. They also give us a vivid portrait of an age drawn through the arts and artists that so profoundly marked it. Austin Carder has performed a monster feat of translation here, catching every nuance of Breton's sinuous, faceted thinking, and Garrett Caples' substantial introduction draws on his extensive scholarship to give the reader the historical, political, and social background necessary to grasp its intricacies and impact." —Cole Swensen, author of And And And "André Breton within his penultimate range of living issued fumes from a monument of orchids sans Metropolitan concrete and anguish. Via Cavalier Perspective (this belatedly translated voltage) he thrives within waves of his immeasurable aural spell. The latter by means of a blinding convoluted majestic that simultaneously transmutes by means of interior eddy. Within this mesmeric conjointment he powerfully witnesses Artaud, magnifying their mutually thriving poetic identity not unlike magically etched lightning by psychically seeded weather. This interior tenor pervades Cavalier Perspective as it persists by inner lingual leap, always hailing beyond tendentious rationality, the latter charred by delimited lingual essence. Within its refracted state of fractional detritus, its intent is infected by fossilized tenor weighed as it is by linear clotting. Thus the latter state attempts to retain its lostness vis-á-vis instillment by magnification as history."—Will Alexander, author of Divine Blue Light (For John Coltrane)

1. André Breton

Nadja

1. André Breton

Arcane 17

1. Antonin Artaud
2. André Breton

De bloedstraal en het manifest van het surrealisme

1. Philippe , Soupault
2. André , Breton

Die magnetischen Felder

1924 erschien das erste 'Manifest des Surrealismus' von André Breton. Ein Ereignis, das genau hundert Jahre später Anlass für ein Jubiläum ist, das mit zahlreichen Ausstellungen und Veranstaltungen zelebriert wird. Übersehen werden hierbei aber Entwicklungen, die bereits fünf Jahre zuvor die Entstehung des Surrealismus einleiteten und ihn erstmals als Methode präfigurierten: Bekanntgemacht von Guillaume Apollinaire, suchten André Breton und Philippe Soupault (1897-1990) nach einer neuen Literatur, einer neuen Schreibweise, die nach der traumatischen Erfahrung des Krieges geistiges Neuland erschließen sollte. Unter dem Eindruck der Entdeckung des Unbewussten, den Schriften zur Arbeit des Traumes von Sigmund Freud und Pierre Janets Text 'Der psychologische Automatismus' setzten sich Breton und Soupault dem Experiment der 'automatischen Schreibweise' aus. Soupault zufolge schrieben sie zwei Wochen, jeder für sich, wenn auch zeitweise in einem Raum, mit dem Ziel, einen Ausdruck geistiger Freiheit zu finden, der sich nicht mehr ästhetischen und moralischen Forderungen unterwirft. Das Ergebnis ist unverstellte Poesie, die einem Freiheitsgefühl entspringt und in der Gemeinschaftlichkeit ihre Entstehung weiß. 1920 erfolgte die vollständige Veröffentlichung unter dem Titel 'Les Champs magnétiques', bestärkt durch den Freund und Mitstreiter Louis Aragon. Die einzelnen Texte sind den Autoren erkennbar zugeordnet, mitunter in eine dialogische Konstellation gesetzt.Wenig später trennten sich die Wege der Surrealisten. Breton verfolgte andere Ziele, wollte Gesetze und Regeln des Surrealismus belegen, was er mit seinem Manifest realisierte. Soupault hingegen blieb bei der geistigen Einstellung unkompromittierbarer Freiheit, was er später rückblickend folgendermaßen formulierte: 'Tatsächlich ist der Surrealismus keine literarische Schule oder Religion, er ist Ausdruck einer Haltung, einer geistigen Einstellung, vor allem jedoch einer möglichst vollständigen Befreiung.'Die deutsche Übersetzung von Ré Soupault erschien 1990 bei Wunderhorn mit einem Nachwort. Die vergriffene Ausgabe wird hiermit neu aufgelegt und lenkt den Blick auf einen blinden Fleck der zeitgenössischen Rezeption des Surrealismus. Sie soll nicht dessen 'eigentlichen' Ursprung beanspruchen, sondern gerade in der Infragestellung solcher Ursprünglichkeit eine weitere Spur der surrealistischen Bewegung sichtbar machen.

1. Andre , Breton

Magic Art

Breton's late treatise on magic and art appears for the first time in English, complete with citations, commentaries and a bibliography What is "Magic Art"? In 1953, André Breton, founder of the Surrealist movement, was invited by a prestigious French publisher to explore answers to this question. His resulting analysis is wide-ranging and evocative. Beginning with a literary review of magic and art, Breton draws upon Novalis and Baudelaire before considering the prehistoric rock art of Spain and France, the native art of the Pacific Northwest, the magical grimoires and alchemical symbolism of the Middle Ages, and the work of Hieronymus Bosch, Antoine Caron, Paolo Uccello, Gustav Moreau, Paul Gauguin and the Surrealists. Through these and other diverse sources, Breton traces a mystery that lies at the heart of our timeless fascination with otherness and seeks to place Surrealism as a successor to a magical sensibility that began with art itself.First published in 1957 as L'Art magique, this important text is offered here as an English translation for the first time. Working from manuscript notes for the original project, this edition presents the iconographic content as Breton intended, together with more than 300 new citations and a comprehensive bibliography that emphasizes sources found in Breton's own library.André Breton (1896-1966) was one of the founders and most controversial exponents of Surrealism, defining the movement in his first Surrealist Manifesto as "pure psychic automatism." Fleeing from Europe during World War II, Breton traveled throughout North America staging Surrealist exhibitions and lending his voice to several political movements.