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|a (OCoLC)244972063
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|a Eburne, Jonathan P
|q (Jonathan Paul)
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| 245 |
1 |
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|a Surrealism and the art of crime /
|c Jonathan P. Eburne
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| 264 |
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|c 2002
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| 300 |
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|a xiii, 388 pages :
|b illustrations ;
|c 29 cm
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| 336 |
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|a text
|b txt
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|a unmediated
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| 338 |
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|a volume
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| 500 |
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|a Adviser: Jean-Michel Rabate
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| 502 |
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|a Thesis (Ph.D. in Comparative Literature and Literary Theory) -- University of Pennsylvania, 2002
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| 504 |
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|a Includes bibliographical references
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| 520 |
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|a Approaching the Surrealists as readers and interpreters of culture as well as avant-garde artists and agitators, "Surrealism and the Art of Crime" draws from both "high" and popular literature, film and philosophy, psychoanalysis and politics, journalism and public affairs. If revolution became the banner under which the Surrealists attempted to unify these fields of knowledge, then the group's more subtle, yet equally pervasive, interest in crime affords new ways of addressing how the movement, as well as how modernism itself, began to realize the stakes of this revolutionary project
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| 520 |
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|a "Surrealism and the Art of Crime" examines the role of crime and crime discourse in the conceptual universe of the Surrealist movement. It focuses upon periods in the movement's history when the idea of crime becomes instrumental in reshaping the group's structure, politics, and intellectual affiliations. Not only did criminality provoke some of the group's most important collective projects, but it also provides a critical means for addressing some of the more daunting methodological problems encountered when writing about Surrealism and modernism. Indeed, if Andre Breton describes the "simplest Surrealist act" as an act of random assassination, then the "art" of crime can account for even the most complex of surrealist acts: its attempts to fuse philosophy, literature, and art with politics and experience. For the Surrealists, the local impact of contemporary crimes and their representation in the media afforded a means for addressing the problems and limits of the immediate cultural order. At the same time, the more broadly historical forms of detective mysteries, gothic novels, and the "criminal" fictions of Poe, Sade, and Lautreamont are instrumental to the Surrealists' sense of historicity. The allusions to crime and crime literature in Surrealist art and writing form a condensed and dismembered body of knowledge that addresses the modalities of experience in the modern world. In turn, this surrealist intervention can throw new light on the more "populist" forms of Surrealism that have arisen in the aftermath of the Second World War, from the critical concept of film noir, to the violent comic universe of a hard-boiled American writer like Chester Himes
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| 590 |
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|a University Microfilms order no.: 3054936
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| 650 |
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|a Comparative literature and literary theory
|x Penn dissertations
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| 650 |
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|a Penn dissertations
|x Comparative literature and literary theory
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| 700 |
1 |
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|a Rabaté, Jean-Michel,
|d 1949-
|e advisor
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| 710 |
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|a University of Pennsylvania
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