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The purpose of this article is to analyse Elena Garro's poetry compiled in Cristales de tiempo (2008) from a hermeneutical point of view. For biographical reasons, the Mexican author's lyrical production has been relegated to a second line within the 20th century Latin American poetics. For this reason, in this paper we examine some of her most significant poems, highlighting her adherence to a surrealist aesthetic in which the lyrical voice finds no possible refuge other than escape to other realities. [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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.)

La psicogeografía y otros juegos poéticos con el espacio urbano, que surrealistas y situacionistas entendieron como armas de cambio revolucionario, deben ser analizados en sus contextos socioecológicos e históricos específicos. Así, la época canónica de la psicogeografía hay que entenderla en el marco de la realidad metabólica de la Gran Aceleración y su efecto sobre la ciudad, con el paso del carbón al petróleo como centro de nuestra matriz energética. El artículo analiza estas conexiones e indaga en las nuevas realidades socioecológicas que una psicogeografía del siglo XXI debe asumir como punto de partida: la consumación de la ciudad neoliberal y la crisis ecológica de la civilización industrial.

This article aims to discuss the relationship that the surrealists had with the real city and, from there, to examine some of the urban spaces they preferred, where they identified possibilities of apprehension that differed from those of common sense. In this regard, this work initially focuses on the surrealist making and on the possibility of existence of a surrealist architecture or a surrealist city. Next, we will have a look at some of the games that the surrealists played about the real city, imagining possibilities of intervention; then we will try to identify the seduction that certain architectures exerted on them, such as the expressions of the so-called Art Nouveau and the commercial gallery (covered passage) spaces. In addition, we will look at some characters and architectures that are close to the values which the surrealists advocate, configuring a writing of dreams. Finally, we will examine some architects whose work is surrealist or very close to surrealism. [ABSTRACT FROM AUTHOR]

This article discusses how the surrealist imagetic-poetic creation shapes both an esthetic and an ethical attitude. It defends the perspective that surrealist practices paved the way to new subjectivation modes of individuals from westernized societies, insofar as they question commonly established dichotomies such as: body-mind; human-non-human; naturesociety; subject-object. Thus, a discussion was developed surrounding the surrealist image, based on the First Manifesto written by André Breton. Subsequentially, it was discussed how the work of Antonin Artaud and Hilda Hilst reverberated some of the surrealist proposals, each in their own way. Finally, it becomes clear that the artists and poets who adopted the practices of surrealism sought to affect both the field of language and literature, destabilizing them and, at the same time, forming new and until then unthought-of images. [ABSTRACT FROM AUTHOR]

This work analyzes how Surrealism as an ethical, aesthetic, and political proposal can contribute to rethinking teaching practice in Early Childhood Education. This problem consists of “How can Surrealism broaden the understanding of teaching practices in Early Childhood Education, from the perspective of Walter Benjamin?”. A question arises given the need to think about an educational practice with children that allows creativity, freedom, and imagination. The central objective of this work is to investigate the possible relationship between Surrealism and Early Childhood Education, emphasizing the role of education and the concept of childhood from the perspective of Walter Benjamin, to broaden the understanding of teaching practices in Early Childhood Education. For this, bibliographical research was used. The analyses demonstrate that the ethical, aesthetic, and political proposals of Surrealism are close to childhood and can provide a teaching practice in Early Childhood Education that values imagination, playfulness, creativity and the importance of building collective history. [ABSTRACT FROM AUTHOR]

The article aims to analyze the presence of poetry in the pictorial work of Juan Miró, an artist who established a lasting dialogue with poets after his entry into the surrealist group. This dialogue proved to be decisive for the development of an unprecedented plastic expression, supported by the notion of "poetic image" as defined by André Breton in the Manifesto of Surrealism, and which gave rise to "dream paintings" and "poem paintings". The works carried out in the period from 1924 to 1927 will be privileged in the analysis due to the combination and/or fusion that can be observed there of writing with image, poetry and painting, as well as the dream theme, resulting in the conception of a picto-poetry and in the affirmation of the artist as a poet. [ABSTRACT FROM AUTHOR]

Starting from the observation that the word "surrealism" is commonly used in confusing, contradictory or suspicious meanings, this article sets out to clarify the essential principles of the movement. It begins by quoting a passage from the 1924 Manifesto, in which André Breton already distinguished the spirit and the letter of surrealism. It then looks at two questions: who can call himself a surrealist? And what does it mean to be surrealist?, in order to then elucidate the distinction between being a surrealist and appearing to be surrealist. Next, it studies the historical limits of the surrealist movement and points out the eternal values with which surrealism identifies itself: love, freedom and poetry. In summary, the article shows that a rigorous definition of the letter of surrealism allows us to specify its spirit even more freely, as well as to locate the surrealist movement historically. By way of conclusion, the author closes with some personal comments on surrealism, in which he situates himself as a militant of the movement, from 1964 to 1969, as a writer and as a defender of the surrealist spirit. [ABSTRACT FROM AUTHOR]

Alejo Carpentier’s work is known for its scathing disprovals of surrealist ideas. Although, at young age, the author promoted the movement and built himself intellectually from within surrealist precepts, as well as attached to surrealist artists. The presumed disruption with Surrealism is a benchmark in Carpentier’s literary production and shows an ambiguous position, since it is possible to track significant surrealist traces in his essays and narratives. The main concept linked to the author (the "Marvelous Real") is in the spotlight between the rejection of surrealism, as a basic precept, and the resumption of some of itsideas. In this work, we aim to analyze the contradictory position of Carpentier’s discourse through the dialogue between essays written by him at different moments of life, as well as their comparison with critical works on the subject. [ABSTRACT FROM AUTHOR]

This article aims to problematize the relationship between automatic writing and the marvelous. To do so, we start from the interest of young André Breton in creative processes beyond the literary sphere, in a context where, in addition to Freud's recent discoveries about the unconscious, various experiences intersect: a poetic production that experiments with the decentralization of the creating subject, scientific investigations in the field of neurology and psychiatry on automatic psychic phenomena, and belief in the manifestation of life after death. All these experiences point to the same issue: the manifestation of thought, free from the coercion of morality, taste, and reason. Although there is something universal in this issue, perhaps inherent to the poetic experience itself, we recognize that surrealist automatism is an original "war machine" against reflection and language, the literary institution, the notion of reality, and the foundations of modernity. Despite all the controversies surrounding surrealist automatic writing, it makes a difference because it is all difference; by freeing language from its communicative function, it does not express the freedom of man, it is freedom in action, revealing the unknown and opening the doors to the marvelous. [ABSTRACT FROM AUTHOR]

Jules Supervielle (1884-1960) had a life marked by movements between Europe and South America. Born in Montevideo and living in Paris since 1894, he witnessed up close major events in different areas, such as the artistic avant-garde, rapid technological evolution and the First World War. He developed his poetic voice in this context shared with Guillaume Apollinaire (1880-1918), André Breton (1896-1966), Louis Aragon (1897-1982), among other writers. In 1924, when Breton published the Manifesto of Surrealism, Supervielle was about to release one of his most important poetry books. In this article, we propose to analyze how this French-Uruguayan poet, through testimonies and theoretical reflections, seeks to individualize himself in relation to the surrealist aesthetic, established with great influence from the first manifesto onwards. We will also explore, in addition to divergences, at which points they would converge, and why such approximations would be possible. With this approach, we intend, in addition to studying the poetics of Jules Supervielle, to contribute to the understanding of the complexity of surrealism, exploring its diffusion and reception in the artistic world since its emergence. [ABSTRACT FROM AUTHOR]

This article proposes a reflection on texts written throughout the 20th century in different social, cultural, and literary spaces, but which have relationships that are either divergent or contiguous. Thus Massak (1986), a play by Guyanese writer Elie Stéphenson, is related to Le Nègre du Gouverneur (1972), a narrative by Serge Patient, another Guyanese writer. Both have in common a legendary character from French Guiana, the African D'Chimbo. I will start by briefly discussing this character and Serge Patient's narrative, and then introduce Massak, who stages the episode of the revolt of the Maroons in French Guiana. I will then mention “Que foi o Quilombo dos Palmares” (What was Quilombo dos Palmares, 1956), an essay by the surrealist poet Benjamin Péret, to recall the proximity between marronage and the Palmares revolt, its defense of freedom without concessions, opposed in every way to black assimilation. Finally, I will comment on how the options of freedom and absolute non-conformism appear in the text of André Breton’s Manifesto of Surrealism (1924). The defense of these two options is evident both in the trajectory of the authors concerned and in their texts and, even today, seems to be fundamental for the histories and literatures of Latin America. [ABSTRACT FROM AUTHOR]

With its likes and dislikes, rejections and approvals, the Manifesto of Surrealism (1924), by the French poet André Breton (1896-1966), assumed great importance in the context of ideas, culture, the arts, poetry and also in the political world, both in the period in which it was launched and subsequently, to this day. Bearing in mind the difficulty in reading and understanding its content and, not unfrequently, the accusation of obscurity and hermeticism against it, this article aims to examine the Manifesto, identifying the main elements which guided Breton's approach and which will shape the essence of surrealism. To this end, and with the aimof making it easier to understand the abovementioned publication, use is made of the author's teaching experience on the subject and of the wealth of experience it has provided, with the understanding, moreover, that such an approach makes it possible to unveil and value the Manifesto even more. [ABSTRACT FROM AUTHOR]

This article introduces the concepts and becomings that arise from the idea of collage as a loving and creative journey that has as its aim the composition and re-composition of the self and the world. The meanings of collage are exposed; We review the main names of collage in modern art, combining the thoughts of different authors who embrace difference as a tenet based on the fragments and splinters created by modernity. The similarities and differences between collage and montage are made explicit, as well as the way that collections of objects connect with the motion of cutting, searching and pasting, knowing that the process is as or more significant than the final product. This article also outlines and proposes a review of concepts and historiographical dependencies, even from Amerindian and African knowledge, which precede the establishment of collage as a technique in the field of art. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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.)

Este texto muestra la obra de uno de los escritores centroamericanos e hispanoamericanos más importantes del siglo XX. El inicio de este poeta guatemalteco fue en el movimiento vanguardista del surrealismo. Así también, recorre la trayectoria estética de este poeta, su vínculo con la poesía española, la lírica de la soledad, su amor a Guatemala y la poesía ensayística.

La relación entre arte y política constituye uno de los motivos fundamentales de la reflexión estética desde sus mismos orígenes, y más aún en los momentos históricos caracterizados por fuertes movimientos de revolución social. Desde este breve marco, nuestro trabajo se orienta a reconstruir tres posiciones sobre la relación entre el arte y la revolución producida en el período de entreguerras del Siglo XX. En un primer momento, caracterizamos la doctrina del Realismo Socialista propuesta en la Unión Soviética a través del Primer Congreso de Escritores (1934). Luego, nos detenemos en un documento que procuró desmontar los fundamentos de la posición anteriormente señalada: El Manifiesto por un Arte Revolucionario Independiente firmado por León Trotsky y André Breton (1938). Finalmente, exploramos una forma de relación alternativa a las dos posiciones anteriores basándonos en las consideraciones del filósofo alemán Walter Benjamin acerca del Surrealismo y el concepto de imagen (1929).

As relações entre Gaston Bachelard e o Surrealismo são inúmeras. Ao analisá-las em detalhe, são ressaltadas as interações, algumas divergências, mas, sobretudo as crenças comuns. Estas repousam essencialmente sobre o poder da imaginação de transformar o universo.