قراءات إضافية | الدَّادائية والسِّريالية: مقدمة قصيرة جدًّا

مجموعات مُنقَّحة

Robert Motherwell, The Dada Painters and Poets (Harvard University Press, 1989); Lucy Lippard, Dadas on Art (Prentice Hall, 1971); Franklin Rosemont (ed.), André Breton: What is Surrealism? Collected Writings (Pluto Press, 1978); Mary Ann Caws, Surrealist Painters and Poets (MIT Press, 2001).

ترجمات إنجليزية لأعمال مهمة

Richard Huelsenbeck, Memoirs of a Dada Drummer (University of California Press, 1991); André Breton, Nadja (Grove Press, 1960) and Mad Love (University of Nebraska Press, 1987); Georges Bataille, Visions of Excess, ed. A. Stoekl (Manchester University Press, 1985) and The Story of the Eye (Penguin, 1982).

طبعات جديدة لدوريات عن الدادائية والسريالية

Dada (Zurich Reviews, Jean-Michel Place, 1981), 391 (Editions Pierre Belford, 1975), La Révolution Surréaliste (J.-M. Place, 1975), Le Surréalisme au Service de la Révolution (J.-M. Place, 1976), Minotaure (Flammarion, 1981), Documents (J.-M. Place, 1991).

الفصل الأول: الدادائية والسريالية: نبذة تاريخية

Although contested now, Peter Bürger, The Theory of the Avant Garde (University of Minnesota, 1984), is the key work on its topic. The best general history is Dawn Ades, Dada and Surrealism Reviewed (Arts Council of Great Britain, 1978), with its emphasis on both movements’ publications, but see also Matthew Gale’s chronology, Dada and Surrealism (Phaidon, 1997). In terms of Dada, a major eight-volume study is in progress, with each volume dedicated to a different centre (ed. Stephen Foster, G. K. Hall &; Co., 1996–). Richard Sheppard’s Modernism-Dada-Postmodernism (Northwestern University Press, 2000) collects his important essays on Dada together. For branches of Dada see: Francis Nauman, New York Dada 1915–1923 (Harry N. Abrams, 1994); Michel Sanouillet, Dada à Paris (Flammarion, 1993); Robert Short, ‘Paris Dada and Surrealism,’ Dada: Studies of a Movement, ed. R. Sheppard (Alpha Academica, 1979); and the essays in Stephen Foster and Rudolf Kuenzli, Dada Spectrum: The Dialectics of Revolt (Coda, 1979). On Surrealism, see Maurice Nadeau’s pioneering The History of Surrealism (Penguin, 1973); Gérard Durozoi’s monumental History of the Surrealist Movement (University of Chicago Press, 2002); and the relevant sections of Briony Fer, David Batchelor, and Paul Wood, Realism, Rationalism, Surrealism: Art between the Wars (Yale University Press, 1993) and Christopher Green, Cubism and its Enemies (Yale University Press, 1987).

الفصل الثاني: «الحياة أفضل»: الترويج للدادائية والسريالية

Aspects of the first two sections were suggested by Debbie Lewer’s essay on mapping Zurich Dada in B. Pichon and K. Riha (eds.), Dada Zurich: A Clown’s Game from Nothing (New York, 1996); Philip Mann’s Hugo Ball (University of London, 1987); Annabelle Melzer’s excellent Dada and Surrealist Performance (Johns Hopkins University Press, 1976); Lewis Kachur’s Displaying the Marvellous (MIT Press, 2001) and chs. 6 and 7 of Bruce Altschuler’s The Avant Garde in Exhibition (Abrams, 1994). On Arthur Cravan see Roger Conover et al., Four Dada Suicides (Atlas, 1995). For Marcel Duchamp the standard biography is Calvin Tomkins, Duchamp: A Biography (Chatto &; Windus, 1997) but see also Dawn Ades, Neil Cox, and David Hopkins, Marcel Duchamp (Thames &; Hudson, 1999).

The best monograph on Salvador Dalí is Dawn Ades, Dalí (Thames &; Hudson, 1982). Aspects of the last two sections are indebted to Robin Walz, Pulp Surrealism (University of California Press, 2000); Sherwin Simons, ‘Advertising Seizes Control of Life …’, Oxford Art Journal, 22/1 (1999); and Roger Cardinal, ‘Soluble City’, Architectural Design, 2-3 (1978). For Hal Foster on modernity and Surrealism see his Compulsive Beauty (MIT Press, 1993), ch. 6.

الفصل الثالث: الفن ونقيض الفن

Clement Greenberg’s Modernist attack on Surrealism is his ‘Surrealist Painting’, Horizon (Jan. 1945). For poetry see Anna Balakian, Surrealism: The Road to the Absolute (Unwin Books, 1972). Dawn Ades’s essay on the ‘mouvement flou’ in T. A. R. Neff (ed.), In the Mind’s Eye: Dada and Surrealism (Museum of Contemporary Art, Chicago, 1984) is excellent. See also Harriet Watts, Chance: A Perspective on Dada (UMI Research Press, 1980) and Alastair Grieve’s essay on early Arp, ‘Arp in Zurich’ (in Foster and Kuenzli, Dada Spectrum). The standard survey of photomontage is by Dawn Ades (Thames &; Hudson, 1986) but see also Maud Lavin’s excellent Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Höch (Yale University Press, 1993). The attacks on Surrealist painting were Max Morise, ‘Les Yeux enchantés’, La Révolution Surréaliste, 1 (Dec. 1924) and Pierre Naville, La Révolution Surréaliste, 3 (15 April 1925). There are numerous monographs on individual Dadaist and Surrealist artists, but see William Camfield, Francis Picabia (Princeton University Press, 1979) and Max Ernst: Dada and the Dawn of Surrealism (Prestel, 1993); Hans Hess, George Grosz (Yale University Press, 1985); Jacques Dupin, Joan Miró (Thames &; Hudson, 1962); William Rubin and Carolyn Lanchner, André Masson (Museum of Modern Art, New York, 1976); and David Sylvester, Magritte (South Bank Centre, London, 1992). For Surrealist photography see Rosalind Krauss and Jane Livingston, L’Amour Fou: Photography and Surrealism (Abbeville, 1985). For the Surrealist object and fetishism see Dawn Ades, ‘Fetishism’s Job’, in A. Shelton (ed.), Fetishism: Visualising Power and Desire (South Bank Centre, London, 1995) and for Meret Oppenheim, see Edward D. Power, ‘These Boots Ain’t Made for Walking’, Art History, 24/3 (June 2001). On film see A. L. Rees, A History of Experimental Film and Video (British Film Institute, 1999); Rudolf Kuenzli (ed.), Dada and Surrealist Film (William Locker &; Owens, 1987); and Linda Williams, Figures of Desire (University of California Press, 1981). For Fredric Jameson see his Marxism and Form (Princeton University Press, 1971), pp. 95–106.

الفصل الرابع: «مَن أنا؟» عقل أم روح أم جسد؟

On Dada irrationalism see Richard Sheppard, Modernism, ch. 7. For Surrealism’s psychoanalytic links see Elisabeth Roudinesco, Jacques Lacan and Co: A History of Psycho-Analysis in France 1925–1985 (Free Association, 1990), part one. On Ernst’s ‘Pietà’ see Malcolm Gee, Ernst/Pietà or Revolution by Night (Tate Gallery, 1986) and for psychoanalysis in Surrealist art, David Lomas, The Haunted Self (Yale University Press, 2000). Dada attitudes to the machine, and Cartesian dualism, are dealt with in my Marcel Duchamp and Max Ernst: The Bride Shared (Oxford University Press, 1998), chs. 1 and 2. For Bataille’s thought see Michael Richardson, Bataille (Routledge, 1994) as well as Bataille’s own writings as cited above. Richard Sheppard is again excellent on Dada and mysticism (Modernism, ch. 10) but see also Timothy O. Benson’s essay ‘Mysticism, Materialism and the Machine in Berlin Dada’, Art Journal, 46/1 (Spring 1987). Alchemy in Surrealism is discussed in my Marcel Duchamp and Max Ernst. For Miró and Lull see also my ‘Ramon Lull, Miró and Surrealism’, Apollo (Dec. 1993). For the idea of the Wunderkammer see the final chapter of my Marcel Duchamp and Max Ernst, and for Joseph Cornell see Diane Waldman, Joseph Cornell: Master of Dreams (Harry N. Abrams, 2002). Jan Švankmajer’s text on ‘Fellaceus Oedipus’ appears in Jan Švankmajer: Transmutation of the Senses (Central Europe Gallery and Publishing House, 1994), pp. 23-4. Ideas of traumatic mimickry in Berlin Dada are developed by Brigid Doherty in ‘See: We are All Neurasthenics: Or, the Trauma of Dada, Montage’, Critical Inquiry, 24 (Autumn 1997). For the effects of World War 1 on male Surrealist imagery see Amy Lyford: Surrealist Masculinities (forthcoming, University of California Press). On Surrealist sexuality see Jennifer Mundy (ed.), Surrealism: Desire Unbound (Tate Publishing, 2001), which includes an excellent essay on Sade by Neil Cox, and Xavière Gauthier, Surréalisme et Sexualité (Gallimard, 1971). Recent monographs on Bellmer are by Sue Taylor, Hans Bellmer: The Anxiety of Influence (MIT, 2000) and Therese Lichtenstein, Behind Closed Doors: The Art of Hans Bellmer (University of California, 2001).

الفصل الخامس: السياسات

See Naomi Sawelson-Gorse (ed.), Women in Dada (MIT, 1998) and Whitney Chadwick, Women Artists and the Surrealist Movement (Thames &; Hudson, 1995). For Elisabeth Roudinesco see her Jacques Lacan and Co, and for Krauss’s women-under-construction argument see Rosalind Krauss and Jane Livingston, L’Amour Fou, ch. 2. For Susan Rubin Suleiman see her Subversive Intent (Harvard University Press, 1991), chs. 1, 7. Recent essays on Claude Cahun and Frida Kahlo appear in Whitney Chadwick (ed.), Mirror Images: Women, Surrealism and Representation (MIT Press, 1998). For the Baroness see the biography Baroness Elsa, by Irene Gammel (MIT, 2002). For masculinity in Surrealism see my ‘Male Shots’, Tate: The Art Magazine, 26 (Aug. 2001). On Duchamp as Rrose Sélavy see Amelia Jones, Postmodernism and the En-Gendering of Marcel Duchamp (Cambridge University Press, 1994), ch. 5, and my ‘Men Before the Mirror: Duchamp, Man Ray and Masculinity’, Art History, 21/3 (Sept. 1998).

For a general essay on ‘primitivism’, and a more specific one on Giacometti, see Evan Maurer and Rosalind Krauss in William Rubin (ed.), Primitivism in 20th Century Art (Museum of Modern Art, New York, 1984), vol. ii. The best introduction to ethnography and Surrealism is James Clifford, The Predicament of Culture (Harvard University Press, 1988), part two, but see also Denis Hollier, ‘The Use-Value of the Impossible’, October, 60 (Spring 1992). On anti-colonialism see Michael Richardson and Krzysztof Fijalkowski, The Refusal of the Shadow: Surrealism and the Caribbean (Verso, 1996). A useful essay on Wifredo Lam is Robert Linsley, ‘Wifredo Lam: Painter of Negritude’, Art History, 11/4 (Dec. 1988). For Alejo Carpentier on Surrealism see the prologue to his novel The Kingdom of the World (André Deutsch, 1991). For Eastern European and Japanese Dada see Gerald Janecek and Toshiharu Omuka (eds.), The Eastern Dada Orbit (G. K. Hall &; Co., 1998). Dada politics are discussed in Richard Sheppard, Modernism, ch. 12, and the important essays by Christopher Middleton in section 1 of his Bolshevism in Art (Carcanet New Press, 1978). John Willett’s The New Sobriety (Thames &; Hudson, 1978) is a classic study. In terms of Surrealism, see Steven Harris: Surrealist Art and Thought in the 1930s: Art, Politics and Psyche, Cambridge University Press, 2004. Helena Lewis, Dada Turns Red (Edinburgh University Press, 1988) is useful, despite some factual errors, while Michael Richardson and Krzysztof Fijalkowski, Surrealism Against the Current: Tracts and Declarations (Pluto, 2001) collects a number of important political texts. On Fourier see André Breton’s Ode to Charles Fourier, tr. K. White (Cape Goliard, 1969) and Raoul Vaneigem’s A Cavalier History of Surrealism, tr. D. Nicholson Smith (AK Press, 1999).

الفصل السادس: إعادة النظر إلى الدادائية والسريالية

For the general take-up of Dada and Surrealism in post-1945 art see my After Modern Art 1945–2000 (Oxford University Press, 2000). Theodor Adorno’s essay ‘Looking Back on Surrealism’ is in his Notes to Literature (Columbia University Press, 1991). For Situationism and Surrealism see Peter Wollen’s essay in on the passage of a few people through a certain moment in time (MIT, 1991) and Vaneigem, as in references.