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The article aims to analyse Gellu Naum’s dramaturgy in the context of Romanian surrealism. Being the only one among the representatives of the group in Bucharest who approached the field of drama, Gellu Naum has impressive artistic achievements in this regard. We propose a reconsideration of his plays in the context of his work and of the literary-historical reality as well.

The article aims to analyse Gellu Naum's dramaturgy in the context of Romanian surrealism. Being the only one among the representatives of the group in Bucharest who approached the field of drama, Gellu Naum has impressive artistic achievements in this regard. We propose a reconsideration of his plays in the context of his work and of the literary-historical reality as well. [ABSTRACT FROM AUTHOR]

An article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed. [ABSTRACT FROM AUTHOR]

The article concerns one of the most obscure and most daring (in terms of graphical experimentation) verbo-visual works of the Polish Great Avant-garde - the booklet Wąż, Orfeusz i Eurydyka [Serpent, Orpheus and Euridice, 1922] by Tytus Czyżewski, a painter and man of letters. The printed drama consists of double-spreads made of drawings (presented on the left pages) and text of a one-act play (always placed on the right). In her analyses Śniecikowska refers to the concept of "niezrozumialstwo" [nonunderstandableness] introduced by the Polish pre-war literary critic, Karol Irzykowski, focusing on the positive aspects of "understanding non-understanding". She reveals possible similarities between Czyżewski's artistic practice and the Surrealist technique of automatic drawing. She also uncovers some unclear connections between the visual and the textual within the booklet and points to the relations of Czyżewski's work and the 21st century experiments with verbo-visuality. [ABSTRACT FROM AUTHOR]

The article examines the short film Mr Frenhofer and the Minotaur (1949), the unique surrealistic adaptation that the American avant-garde director Sidney Peterson made of Balzac’s famous story Le Chef-d'œuvre inconnu (1837). Firstly, a brief introduction is given to the main elements of the story and its powerful imprint on the history of art. Then, the film’s two most relevant and innovative contributions are considered: on the one hand, the fusion of Balzac’s story and Picasso’s artistic ideas and, on the other hand, the use of anamorphosis as a technique to turn the film itself into a representation of the kind of art that critics and many artists have seen advocated in Balzac's story and, in particular, in the character and in the mysterious work of the painter Frenhofer, its protagonist.

This essay aims to familiarize the reader with the unknown work of Mila Elin, a forgotten poet of the Polish interwar avant-garde and the only woman in avant-garde circles in Poland at the time. The analysis examines the reasons for Elin's erasure from the history of Polish literature, which, apart from the disastrous impact of World War II on Polish material culture, might have been caused by the criticism of her contemporaries, scholars' biased views of her work, and, perhaps most importantly, her own diffidence. The article reads Mila Elin as an independent poet, separate from her most influential supporter, Tadeusz Peiper, by investigating the theme of marginal female subjectivities (an alcoholic, a nun, and a peasant), problematizing womanhood and desire, and drawing an unexpected connection to surrealist tradition. [ABSTRACT FROM AUTHOR]

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The present article offers a structured account of Hungarian artistic careers in the context of Surrealism ‒ and a possible narrative of the history of Hungarian Surrealism. While occasionally, individual Hungarian authors affiliated with extraterritorial surrealist groups, were included into international overviews of Surrealism, the story of Hungarian Surrealism as an institutional venture and as a network of artistic activities is yet to be written. The article identifies three important benchmarks that shaped the history of Hungarian Surrealism throughout the 20th century. [ABSTRACT FROM AUTHOR]

Andrzej Bursa’s poem Painting Gone Mad (Malarstwo obłąkanego) takes over and sets in motion a machinery of images that are gradually disembodied. The recorded image of the world is superimposed here with the world of delusions and mental “deviations”, deforming all that is subject to poetic intervention and – in the case of other poems – perceived perhaps in terms of existential paradoxes. The psychotic construction of the subject allows the activation of games of imagination, which, in the field of creative possibilities, activate “surreal” images. The perspective of post-human transformations of years ago, technicization, and indeed fantastic, “surrealistic” textualization of borderline states of consciousness (madness, insanity) of a person from a triumphantly and dramatically modernized world is intriguing. The sketch includes interpretive remarks on the poems of Tytus Czyżewski and the text Without the Help of the Physicians by Jan Brzękowski. These works are juxtaposed with Painting Gone Mad due to the common perspective of psychiatric confrontation with the world and “mechanization” and, in the case of the latter poet, the organic-technical experience of the lyrical character. [ABSTRACT FROM AUTHOR]

This article analyzes Leonora Carrington's Down Below from a dual perspective. First, we aim to provide an interpretative framework to contextualize Carrington's literary production within the Surrealist avant-garde. !en, we examine the literary geographies of Carrington's writing, offering a parallel reading of Down Below with the Hearing Trumpet, focusing on the interconnection between physical space and the body - a geography made of flesh, which can be analyzed according to the hermeneutical lines of neo-materialism. [ABSTRACT FROM AUTHOR]

This approach tries to emphasize the similarities and differences between the poetics of Surrealism and that of the new Romanian avant-garde of the late sixties called "structural onirism". The two leaders of this group, the poet Leonid Dimov and the novelist Dumitru Ţepeneag, produced a series of literary manifestos in a few literary magazines of the time, in which they tried to build a coherent and original aesthetic program. The main ideas were the rational structure of the new literature and its dreamlike atmosphere produced by a deliberate technique, characteristics which placed it in the category defined by Angelo Guglielmi in the late fifties as "experimentalism". However, the dark dreamy atmosphere, the "convulsive beauty", the programmatic incoherence of the narration in order to create the dream-like effect, the incompatibility of the associations, etc. are features that still link this new literature to older Surrealism. [ABSTRACT FROM AUTHOR]

In the 1920s and '30s the fourteenth-century Italian artist Paolo Uccello was appropriated as a precursor of Surrealism in the French surrealist discourse. Pivotal were two texts, a mini-play and an essay, that the playwright Antonin Artaud, then in his surrealist phase, dedicated to Uccello between 1924 and 1926. This article analyses both texts and shows the construction, by Artaud, of Uccello as his potential double, and especially as someone dedicated to mind over matter, a key facet of Uccello’s reception as a fellow traveler of Surrealism. It identifies an artwork ascribed to Uccello, discussed by Artaud and thought imaginary, as a panel currently in the Louvre. Finally, it shows that an imagined biography of the artist by the symbolist writer Marcel Schwob forms the key hypotext for Artaud and other surrealists, with strong echoes of Vasari’s vita of Uccello, which was in turn Schwob’s hypotext.

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In this essay I demonstrate how Barbara Guest's experiments in visual poetry were influenced by Frederick Kiesler's architectural designs: both artists, inspired by Surrealist poetics, sought to build visionary structures that took shape on the page but moved beyond it. Following Kiesler's 1965 death, Guest published a poem in 1968 inspired by Kiesler's "Galaxy" structures, titled "Homage", and included a shortened version in Durer in the Window (2003). Kiesler composed a number of works under the name "Galaxies", all of which shared an interest in merging architecture with other art forms, including sculpture, mobiles, drawing, and painting. In "Homage", Guest was less interested in describing Kiesler's "Galaxies" than in building a commensurate architecture of the page, dependent on the spatial arrangement of lines and stanzas, the visual impact of white space, and the reader's imaginative navigation of both. Putting Kiesler's "Galaxies" and Guest's "Homage" in dialogue illuminates a model of inter-arts reception as co-creation or what Kiesler called "Correalism" that depends on the spatial dimensions of the poetic imagination. Both works can be understood as open, mobile, "museums without walls" that anticipate the future by inviting dynamic collaboration and future transformation. Finally, I argue that the relationship between these works models the kind of affiliation important to experimental women artists and poets such as Guest, affiliations that helped form an En Dehors Garde "in the shadow" of the avant-garde. [ABSTRACT FROM AUTHOR]

The protagonist of the essay is Andrzej Kolo, actually Andrzej Kołodziej, a Polish painter from Tarnów (born 1944), who emigrated to the USA in 1973. In 1981, he founded the KrakArt group in California, whose members were graduates of national art academies who had been living and working in the United States for years. This group is very active in terms of exhibitions; it has no single program, its members represent a wide variety of currents and tendencies present in contemporary European and world art. In Poland, they exhibited their works for the first time only in 2020 at the Kazimierz Pulaski Museum in Warka and at the Polonia House in Krakow. In 2022, further exhibitions of the group were planned in Łódź and Warsaw. However, due to technical reasons, only two individual exhibitions of the group leader, Andrzej Kolo, have been held so far. This multi-talented artist (painter, draftsman, photographer, poet, musician and playwright), admirer of the art of the rebellious Stach from Warta Szukalski, most willingly paints pictures, mainly figurative and landscape paintings, definitely expressionistic, with elements of decorative color. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An important critical tradition tends to consider Léo Malet as the father of the French noir novel. Though he owes his fame to the character of Nestor Burma that he invented in 1943, his previous production, which served as a testing ground to develop his Parisian version of noir fiction, is not as well-known. During the German Occupation of France, the publisher Georges Ventillard, taking advantage of the craze for noir fiction and the banning of Anglo-American literature in France, launched the “Minuit” series. The twenty-four French-produced titles that he published from 1941 to 1949 offered American plots, settings and characters. To reinforce their credibility, their authors adopted American-sounding pseudonyms. This is how Léo Malet, commissioned by “Minuit,” wrote the first Johnny Metal novel in 1941. With the Metal series, Malet imitated a form belonging to American tradition. Like most French novelists who produced these fake American novels, he did not know the United States. His main source of inspiration was not so much noir fiction as the movies. It is on this “American” production by Léo Malet that we will focus here. We will look at three of his best-known novels (Johnny Metal, Le Dé de jade and La Mort de Jim Licking), to show how Malet reappropriated the hard-boiled tradition through the lens of American cinema and reinvented it for the French public. A former member of the surrealist movement, Malet, in fact, did not copy but subverted the traditional aesthetics of noir fiction by injecting into it, among other things, the surrealist practice of décollage, a technique that breaks the barriers between literature and the visual arts.

This article examines a selection of poems from Federico García Lorca’s Poeta en Nueva York (1929), to consider the ideology that underpins it. Drawing on Fredric Jameson’s idea of the ‘political unconscious’, whereby every text can be read as a socially ‘symbolic act’, the author will argue that the poetic subject in Lorca’s New York poetry gives voice to a crisis of bourgeois selfhood, which is set against the backdrop of economic collapse and experimental aesthetic renewal that coalesced in the late 1920s. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the 1920s the quattrocento Italian painter Paolo Uccello was appropriated as a precursor of Surrealism in the French surrealist discourse, a process that continued and became international in the 1930s. The (positive) reception of Uccello among avant-gardes such as Surrealism was distinctly different from his contemporaneous (rather negative) reception among art historians. In several places the surrealist perception of the artist prefigures post-modern views, not least when it comes to Uccello's playful and experimental attitude to perspective. The standard was set by the surrealist poet Philippe Soupault in 1929 in an art historical treatise inspired upon a surrealist worldview. Reviewing this and other written sources, this article also briefly discusses three examples of artistic responses to Uccellan aesthetics, by Salvador Dalí, George Hugnet and René Magritte. [ABSTRACT FROM AUTHOR]

Discussion of the works of Urszula Czartoryska - "the first lady of Polish photography", one of the leading figures of post-war art criticism in Poland, whose attitude was shaped, inter alia, in the circle of Zamek (Castle) Group. The starting point for the discussion is the current position of the critic on the map of Polish art history. The author presents the rich activity of Czartoryska - writing, museology, and teaching - as a coherent intellectual strategy that fits into the determinants of Polish "modernity". A look at the critic's output from a broader historical and artistic perspective makes us realize that this is still an area of research which has not been fully explored. [ABSTRACT FROM AUTHOR]

The aim of the article is to analyse the influence of occultism on the development of the Central European avant-garde, especially the Surrealism of the '30s and '40s. On the one hand, occultists affirm a retreat from the tyranny of reason, which for many avant-garde artists embodies the pettiness of human existence, stifled by the forces of family and public duties. On the other hand, they are an inexhaustible source of props, actions and rituals. Both aspects are extremely important for both Czech Artificialists (Toyen and Štyrský) and Surrealists (Teige, Nezval); however, they gain particular importance in the theories and practice of Romanian Surrealists - Victor Brauner, Gherasim Luca and, above all, Gellu Naum. The space in which these transformed entities with a new status enter consciousness are the eponymous „dangerous territory" that André Breton wrote about, and which become a metaphor (but is it only a metaphor?) of the alliance of the proto-language and the proto-image. [ABSTRACT FROM AUTHOR]

In the 1920s the quattrocento Italian painter Paolo Uccello was appropriated as a precursor of Surrealism in the French surrealist discourse, a process that continued and became international in the 1930s. The (positive) reception of Uccello among avant-gardes such as Surrealism was distinctly different from his contemporaneous (rather negative) reception among art historians. In several places the surrealist perception of the artist prefigures post-modern views, not least when it comes to Uccello’s playful and experimental attitude to perspective. The standard was set by the surrealist poet Philippe Soupault in 1929 in an art historical treatise inspired upon a surrealist worldview. Reviewing this and other written sources, this article also briefly discusses three examples of artistic responses to Uccellan aesthetics, by Salvador Dalí, George Hugnet and René Magritte.

This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War. [ABSTRACT FROM AUTHOR]

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The text offers a critical and comprehensive review of Dorota Jarecka's book Surrealizm, realizm, marksizm. Sztuka i lewica komunistyczna w Polsce w latach 1944-1948 [Surrealism, Realism, Marxism: Art and the Communist Left in Poland between 1944 and 1948]. The reviewer appreciates the main methodological premise of the book, namely that the tensions and conflicts generated within the triangle "avant-garde - realism - emancipatory role of art" cannot be reduced to a binary opposition between totalitarian ideology and the legitimate art world. In fact, it reflects the contradictory dynamics of politically engaged art in general and the context of post-war Poland in particular. Despite the book's formidable factual support, the result of extensive and comprehensive query, the reviewer still regrets that the author remains primarily an art historian rather than social historian of art. This note of regret however does not diminish this noble contribution to understanding the logics of Polish visual arts in the aftermath of World War II. This area is much less known generally than the literature of this very period. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The depiction of political movements or politicized groups through cinema too often emphasizes their material demands and current social reality, neglecting the subconscious, internal desires of the group. To outline the effectiveness of "neo-documentary" films in portraying collective struggle, this essay will examine Dušan Makavejev's WR: Mysteries of the Organism (1971) which focuses on Wilhelm Reich and the loose movement for sexual liberation inspired by his ideas. This movement had collective subconscious desires and motivations which manifest themselves externally through lifestyle choices, artistic or political actions. The members of the movement also had internal realities, repression, and trauma for example, that they wished to avoid or fight against. For a holistic cinematic representation, both the internal and external realities must be represented, and ultimately synthesized. Matsumoto Toshio's "neo-documentary" theory solves this problem. "Neo-documentary" is a spiritual successor to surrealism, but with an expanded notion of the internal-external synthesis that the surrealists outlined. Using surrealist techniques to depict internal realities, and documentary form to depict external realities, Matsumoto described a new kind of cinema which would encompass both worlds, destabilizing the boundary between the two. [ABSTRACT FROM AUTHOR]

This paper explores a polemic between André Breton and Georges Bataille around the question of the politics of the avant-garde. Focussing on texts composed in the late 1920s, principally Breton’s Second Manifesto of Surrealism and Bataille’s ‘The “Old Mole” and the Prefix Sur in the Words Surhomme and Surrealist’, this paper argues that in examining this debate around matter and material, it is possible to extract two distinct conceptions of the places of subjectivity and revolution in avant-garde aesthetics. While Breton wishes to separately define the idealist aesthetic projects of Surrealism and the materialist project for revolution, Bataille argues that a commitment to that materialist project requires a similarly materialist aesthetics.

This study analyzes the engaged literature of one of the foremost figures of the Romanian avant-garde, Geo Bogza (1908–1993). After a short period of literary insurgence as an editor of the avant-garde magazine Urmuz (1928), as a contributor to the Surrealist magazine Unu (1928–1932), and as the author of a harsh erotic poetry published in the volumes Jurnal de sex (1929) and Poemul Invectivă (1933), for which he was to be sentenced to jail two times (in 1934 and 1937) for the delict of pornography, Geo Bogza, like other members of the Romanian avant-garde, followed the example of the French surrealists and wrote a literature supposed to be engaged in the service of the proletarian revolution. His main contribution to literature was the literary reportage, a genre sui generis that he developed and transformed into pure poetry. [ABSTRACT FROM AUTHOR]

This essay aims at establishing the relations between the avant-garde movements that took place in Lisbon and Barcelona in the late 1940s, having as a basis the year of 1948. In Lisbon, the year was marked by Mário Cesariny’s break with the Surrealist Group of Lisbon and the formation of a new group called The Surrealists. In Barcelona, that same year, we have the emergence of the Catalan avant-garde group Dau Al Set, which had Joan Brossa as one of its founding members, as well as the release of a magazine by the same name. It is interesting to note that these late avant-garde movements developed in highly unfavorable political contexts, in Portugal during the Salazar dictatorship and in Spain under the Franco regime. As such, I intend to discuss the interventional and resistance aspects represented by these two artistic movements.

Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video. [ABSTRACT FROM AUTHOR]

The paper continues "object-oriented" analysis of the most inspiring experiments in the Romanian Surrealism's repertoire, notably in the short stories by Gherasim Luca, one of the movement's leading representatives. His two books of poetic prose, published originally in the 1940s, could be interpreted as the emblematic example of Surrealist revolutionary tendencies in the field of new materialism. Such texts as The Kleptobject Sleeps or The Rubber Coffee become the laboratory of the object itself, gaining a new, unlimited identity in the platform of Surreality, where the human-like subject loses its status. Objects possess quasi-occult powers to initiate and control human's desires. Therefore, Breton's "revolution of the object" could concretize as literary praxis showing the way how contemporary "materialist turn" in anthropology deals with avant-garde theories. [ABSTRACT FROM AUTHOR]

In the article, the author examines the symbiotic relationship between dance and Surrealism by discussing contemporary avant-garde cinema like "Parade" by The Ballets Russe, "A Swan Lake for Tamara Toumanova" by director Joseph Cornell, and the choreocinema "A Study in Choreography for Camera" by director Maya Deren. Also cited are the artistic movements like surrealism, cubism, and constructivism.

This paper aims at both "mapping" the profile of a groundbreaking poetic discourse in contemporary Romania and correlating it to "planetary" trends. Furthermore, it argues that these artistic discourses reshape the status of poetry in general, by creating permeable, transgressive, and porous structures which conduct to new approaches of space - in its imaginary, poetic or planetary aspects - that we call noopoetic interspace or surspace. By getting closer to rather new theoretical and/or artistic approaches like geocriticism (B. Westphal), viractualism and immersive creative environments (J. Nechvatal) or experimental artistic installation based on artificial intelligence (R. Anadol), the works we discuss take an important step forward towards a connective world which strives to rediscover its humanity. [ABSTRACT FROM AUTHOR]

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In order to understand cinema’s role and possibilities of expression in the digital age one should return to the visions, practices and theories of the surrealists—that is the provocative and intriguing point of departure in Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media. The book’s author, Adam Lowenstein, considers the juxtaposition of the surrealist past and the digital present a useful approach if one wants “to challenge commonplace rationalizations of what technological change means” (4). Lowenstein’s position of emphasising similarities and continuities with the past when analysing contemporary phenomena is especially intriguing in an era when most apologists of new media argue that everything is different from the pre-digital.

Abstract Öyvind Fahlström (1928–76) began as a surrealist at the end of the 1940s, and among others wrote the unpublished poetry collection “The Trumpet in the Bottom”. In 1953, he wrote the world’s first manifesto for concrete poetry, inspired by Pierre Schaeffer’s musique concrète, and soon became a driving force in the Swedish and international neo-avant-garde. In the mid-1950s he turned to the visual arts, and later he also wrote radio plays, directed movies and arranged performances and happenings. He showed an extraordinary sensibility for the uncanny in his selection of “life material” for his art, thus uncovering the return of the repressed in everyday life and popular culture, in the form of scatology, pornography, the monstrous, the body, the materiality of the artwork and media, and so on. In his art, this uncanny life material was turned into political statements. In my article the discussion is exemplified from different genres of Fahlström’s œuvre, from his early texts and radio plays, to his visual art.

This article questions the common historiography about the avant-gardes in the interwar period, in which Paris is often considered the international avant-garde capital city, with surrealism as its perfect model. It starts with the idea that the history of the avant-gardes (artists and artists' groups who considered themselves or who were considered innovative) could be studied as "a social field," but also an international field structured by mobility. It focuses on the circulation of avant-garde artists and their works, as well as the social, economic, financial, geopolitical, and colonial bases of these circulations, to understand how some groups, artists, stories, and centers managed to establish themselves better than others. Contrary to the regular narrative based on Parisian domination, a circulatory approach highlights that Paris isolated itself from avant-gardes in the 1920s, unlike the opening of Germany and Central Europe, and that the surrealists themselves were not so international until 1929. Looking at social groups, at their movements and circulation, as well as the various strategies deployed and the underlying geopolitical positions taken by artists after 1929, it shows that from 1929, the Parisian scene, and the surrealist movement in particular, very slowly became a new focus for new artistic generations. Paris only became a global center of avant-garde circulation after 1934 and surrealism then gradually became the focus of international artists' careers. In this process, artists coming from the peripheries of Europe and the Americas, cultural transfers, and resemanticization processes played a central role. [ABSTRACT FROM AUTHOR]

This approach emphasizes the main features of the poetry cultivated by the contributors to the Romanian avant-garde magazine unu in the early thirties. Following the surrealist pattern of the infinite analogies between distant realities, postulated by André Breton in his manifestos and put into practice in his famous poem L'Union libre, the Romanian poets grouped around Saşa Pană and his literary magazine (among them, Ilarie Voronca, Stephane Roll, Geo Bogza, Constantin Nisipeanu, etc.) produced a specific poetry in which image and poetic analogy had the central role; and this was the reason why this poetic stream was generally called "Imagism". [ABSTRACT FROM AUTHOR]

Copyright of Journal for Languages & Literatures of the Faculty of Philosophy in Novi Sad / Zbornik za Jezike i Knjizevnosti Filozofskog Fakulteta u Novom Sadu is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Literature, art and politics have been closely intertwined in scrutinizing society over the past century. However one of the main aspects that can be stressed is the difficulty of the various movements to last over time. Dadaists, Surrealists, Communists, Existentialists, Situationnists and their offspring could not or would not escape a recurrent ephemerality that was, if not necessary, never the less objectively inherent to their identity. Michel Leiris, the author and participant of several of these movements, is a good example of this fact: their short-lived nature yet their social relevance.