Manifestoes of Surrealism

Bretón, André

doi:10.3998/mpub.7558

Cited by 466 publications

(112 citation statements)

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“…I am growing old and, more than that reality to which I believe I subject myself, it is perhaps the dream, the difference with which I treat the dream, which makes me grow old (Breton 1924, no pages given).…”

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

“…He paid tribute to Sigmund Freud, whose thought hugely influenced the philosophy of surrealists through the years to come, by claiming that "Freud very rightly brought his critical faculties to bear upon the dream," and that thanks to Freud's discoveries "a current of opinion is finally forming by means of which the human explorer will be able to carry his investigation much further" (Breton 1924).…”

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

“…The analysts themselves have everything to gain by it" (Breton 1924). The artistic rendering of dreams (in poetry, literature, and painting) should be, then, a way to best evoke human aspirations and make human life better for the individual and in communal dimensions.…”

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

“…Is it not incumbent upon us, who are already living off it, to try and impose what we hold to be our case for further inquiry? (Breton 1924).…”

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

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The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Skowroński

2012

Human Affairs

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In the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana's idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

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Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

“…Is it not incumbent upon us, who are already living off it, to try and impose what we hold to be our case for further inquiry? (Breton 1924).…”

Section: Imagination and Naturalism Vs Dreaming And Fiction (Surrealmentioning

confidence: 99%

See 2 more Smart Citations

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Skowroński

2012

Human Affairs

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“…41 It also caught the attention of Breton, who critically remarked upon it in his second manifesto from 1930. 42 I must forgo a history of the fraught relationship between Breton and the members of Le Grand Jeu, but it is evident that their formulation of the questionnaire was intended to engage with Breton's discursive, questioning logic even as they endeavored to disrupt its dominant control of the avant-garde field. Daumal went to some length to clarify that his question was as much about the endurance of religious concepts related to disembodied subjecthood (the soul; eternal life) as it was about signing a pact, entering into a formal agreement, making a wager: the epitome of the greatest game that defined the platform of action, production, and reception of Le Grand Jeu members.…”

mentioning

confidence: 99%

'Are you Afraid of the Cinema?': Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)

Wild

2015

AMQST

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This essay considers José Corti’s early issues of Du Cinéma as part of an historical avant-garde complex that, in tandem with literary experiments, shaped another historical approach to early cinema criticism and theory by looking beyond cinephilia as a structuring paradigm. Identifying fear, rather than love, as a powerful avant-garde discourse, I suggest that Du Cinéma and especially the avant-garde writer André Delons forwarded a negative dialectical approach to cinematic thought, inquiry, and research. By investigating the enquête or questionnaire as a central research method in this avant-garde tradition, I reorient our understanding of Du Cinema's claim to the cinema's mutability, and its ability to reveal the limits of knowledge.

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