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World of Passion is a new long novel by Can Xue, which presents us with an idealized image-world of existence. The artistic souls of numerous characters are pushed forward and broken out in the process of literary reading, writing and commenting, giving the text extremely rich thematic connotations. Centered around the "book bar", the themes of life-oriented literature, love and objectification of self-awareness progress in tandem, jointly creating a complex and mysterious literary world. The destinies of these characters offer a window into Can Xue's personal life journey and her renewed aspirations for the literary ideals. [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]

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Automatic writing is very important because it is one of the basic principles of surrealists in mystical works that are the result of personal and intuitive experiences and moments of intense emotional excitement. In this kind of writing, the author is overwhelmed by his/her circumstances and does not have control over the process of creating speech due to the overcoming of emotions caused by mystical experience. This way of writing is prominent in the works of Sanai, Attar, and Rumi, for example, whose words are usually the result of passionate moments and romantic madness. Therefore, in this research, the most important principle of the surrealists, i.e., automatic writing, is investigated and analyzed through a descriptive-analytical method in the Seir al-Ebad elal-Ma'ad by Sanai, The Conference of the Birds by Attar, the third book of Masnavi by Rumi. It seems that all three poets expressed their emotions under the influence of love, passion, and inspiration in their moments of intense emotional excitement, which is considered as pure surrealism experiences. It is a proof of their true genius and deep emotion and attitude, which, with all their dissociations and disturbances, originates from a single soul. [ABSTRACT FROM AUTHOR]

Albanian literature after the 90s has had significant changes. A new element of it, is the literature written by authors who emigrated to different countries of the world. The uniqueness of this literature stands in the fact that these writers choose the language of the host country to write their works. Of course, the motives are diverse. The case of Ornela Vorpsi also belongs to this typology of literature. Born and raised in Tirana, she reflects in the entire work, parts that connect her physically and spiritually to this city. Her books written in Italian have often been awarded important literary prizes, thanks to the characteristics they contain, the fragmented composition, and the style very close to surrealism; and her own formation in modern arts, leads in this direction. The stories are connected to each other with the cadavre exquis technique, based on coincidence and chorality; coincidence as they are the stories that she knows, corrality as all the stories together present Albania in the 90s, a country that seeks to shape itself among many difficulties facing an unknown world. She follows the procedure of "automatic writing" according to which the style immediately corresponds to the flow of thought and image, which is accurately transferred to paper. Her books have been translated into eighteen languages. She has been reported among the 35 best European writers in the anthology Best European Fiction. [ABSTRACT FROM AUTHOR]

Surrealism was formed in the early 20th century with the aim of changing people's attitudes towards the industrial world and fighting against it. The goal of the surrealists was to change the world based on their own ideas and somehow return to the original human nature. Although this school of literature mostly dealt with poetry, it gradually entered the literary world of modern novels as well and raised opinions on the literary type of the novel and the closeness of its language to poetic language. Elias Khoury, a contemporary Lebanese writer, uses surrealist elements in his novel "Abvab almadinah" to narrate the protagonist's unsuccessful attempt to reach an unknown city, and finally, with the destruction of the city, he challenges contemporary man's efforts to achieve his desires. The present study aims to investigate the surrealistic characteristics of this novel in a descriptive and analytical way. It seeks to state what components of surrealism are present in this novel and how they are used in designing its themes. The fact that there is a lack of independent research on this literary work, coupled with its surrealist background, shows the necessity and importance of this research. The obtained results show that "Abvab al-madinah" is based on a surrealist foundation. Components such as surreal images, love, imagination and dreams, automatic writing, complexity, and ambiguity are among the most important features used in conveying surrealist meanings to readers in this novel. [ABSTRACT FROM AUTHOR]

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Copyright of Acta Neophilologica is the property of Acta Neophilologica 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.)

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This paper proposes a new scientific way to study the concept and technique of automatic writing in Surrealism. Based on the specialists of André Breton’s work and the experts of automatism, we expose here the literary, psychiatric, neurological and parapsychological influences that Breton had to create his own concept and writing technique. We suggest here that we have to add to all these influences, the spiritist one, specifically, that of Allan Kardec, whose doctrine and concepts, such as psychography, were a direct impact to the surrealist automatic writing, even when Breton wanted to dissociate his movement from Kardec’s doctrine. Automatic writing has been studied from many angles, specially from literary and art theory and criticism, but also from history of science, philosophy, neurology, psychology and psychiatry and even from occultism, hermeticism and esoterism. Nevertheless, we don’t know any contemporary scientific experiment on this surrealist practice, maybe because materialist principles that support traditional Neurosciences are unable to study automatic writing. For this reason, we propose to study automatic writing, not from regular Neuroscience principles that we disapprove here, but from a post-materialist Neuroscience viewpoint, which agrees with the values that Surrealism defended

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation 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.)

The late stages of the careers of W.B. Yeats and Rabindranath Tagore have been analyzed in ways that suggest both authors departed from their respective literary forms or artistic intents, as well as from their respective political and spiritual beliefs. The later works of each author's corpus are frequently ferreted out for their relation to post colonialism, especially since both had been accepted in the cosmopolitan heart of the empire (London). Tagore and Yeats' late stage literary developments, and their engagement with automatic writing, can also be read as a more acute referencing of the notion of meaning or lack thereof, specifically in regards to deriving or making sense from the Other. For both writers, automatic writing and automatic expression during this period in their careers represented engagements with a broader range of cross-cultural voices. [ABSTRACT FROM AUTHOR]

It is argued that psi-critics Reber and Alcock have lifted the debate from the impasse concerning the evidence for the existence of psi phenomena, toward focusing on understanding the nature of the phenomena. This focus concerns the demand to show that statistical findings are not anomalies but reflect real cause and effect relationships and to find a common theoretical framework for what otherwise appear to be heterogeneous rogue phenomena. It is maintained here that the demand for showing causal relationships is already met by a methodology using real-time recordings of changing target imagery along with receiver mentation. The demand by critics for a theoretical understanding linking all or most of the rogue phenomena, led to the proposition advanced here concerning thought-forms and co-conscious states. According to this, the many “rogue phenomena” both in psychology and parapsychology (such as automatic writing, lucid dream characters, spirit possessions, and entity experiences in psychedelic states) are to be understood as representing dissociated thought-forms with varying degrees of co-consciousness and in some cases the development of a genuine degree of autonomy and identity. Keywords: altered states, thought-forms, consciousness, psi, skepticism, automatic writing, co-consciousness, possession

It is argued that psi-critics Reber and Alcock have lifted the debate from the impasse concerning the evidence for the existence of psi phenomena, toward focusing on understanding the nature of the phenomena. This focus concerns the demand to show that statistical findings are not anomalies but reflect real cause-and-effect relationships and to find a common theoretical framework for what otherwise appear to be heterogeneous rogue phenomena. It is maintained here that the demand for showing causal relationships is already met by a methodology using real-time recordings of changing target imagery along with receiver mentation. The demand by critics for a theoretical understanding linking all or most of the rogue phenomena, led to the proposition advanced here concerning thought-forms and co-conscious states. According to this, the many "rogue phenomena" both in psychology and parapsychology (such as automatic writing, lucid dream characters, spirit possessions, and entity experiences in psychedelic states) are to be understood as representing dissociated thought-forms with varying degrees of coconsciousness and in some cases the development of a genuine degree of autonomy and identity. [ABSTRACT FROM AUTHOR]

In the 1950s, the Argentinian author Julio Cortázar (1914-84) composed Imagen de John Keats, a little-known work that merges his own life with that of the British Romantics. Part biography and part autobiography, it includes personal essays and literary criticism that weave through the poems, life, and letters of Keats fromhis early youthto death. This articlepositions Imagen de JohnKeats as animportant case study in world literature criticism. It demonstrates how Cortázar was not only a Latin American Boom writer who enjoyed international fame but also an idiosyncratic practitioner of reading and writing methods that transcend nation and period. Modeling innovative techniques that the author calls "automatic translation" and "global close reading," Cortázar anticipates some of the problems recently voiced in critical debates surrounding world literature. Imagen de John Keats is simultaneously an example of world literature that blends fiction and nonfiction, and a model for world literature criticism. [ABSTRACT FROM AUTHOR]

This essay examines the anti-humanism of the surrealist movement through a study of two important surrealist characters, the eponymous heroine of André Breton's Nadja and Antonin Artaud's adopted identity "Mômo". Both Nadja and Artaud compare themselves to animals to critique and resist the dehumanization they suffer due to mental illness. [ABSTRACT FROM AUTHOR]

Susan Hiller (1940-2019) was a contemporary artist who dealt with topics like PSI and anomalous experiences, and had a pervasive interest in consciousness. Although the subject matter of various of her works is shared with parapsychology, her way of tackling these issues belongs to an area of knowledge that offers interesting contrasts with science. In some of Hiller's oeuvre there is a coexistence of experimental framing and openness to whatever may happen, the results are less relevant than the experience- which is not exclusively mediated by language- and there is a deliberate ambivalence. Her intention as an artist was to delve into the cultural unconscious, pointing at overlooked and neglected areas, among which are a yearning for nonordinary experiences and unconventional views on culture. In this article, five of her productions that have to do with psi are shown and put in context, using Hiller's own words. Related to telepathy, Draw Together (1972), The Dream Seminar (1973), and Dream Mapping (1974) are presented. Dealing with psychokinesis is Psi Girls (1999). An artwork related to psychic automatism is also shown: Sisters of Menon (1972-1979). The degree of self-exposure of the artist, her position towards the subject-matter of her work, the deeper content of her oeuvre, Hiller's role as an artist and the epistemic nature of art in relation to reality are finally discussed. [ABSTRACT FROM AUTHOR]

The theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget's affiliation with Max Jacob's is an attempt to approach the avant-garde, but to turn away from it in a subtle way in the last moment. This waltz-hesitation of Pinget will be the basis of a tendency to put this work in the “new novel” or the theatrical avant-garde. The literature of Pinget can be considered as a form of the art of the escape the expression of an incessantly renewed amazement through an acousmatic voice. It is through the theory of the double and the quest for secrecy that we can now reposition Pinget's theater in the perspective of a classical theater on the very margins of the avant-garde and a striking example of an ontological incomprehension between adaptation and the message left by the author. [ABSTRACT FROM AUTHOR]

The critical literature on Surrealism insists on the thesis that the surrealist's theories were under the influence of Freud's psychoanalysis. The purpose of this paper is to analyse, in the context of Freud's reception in France, the relationship between Breton and Freud's main theories. Breton has developed basic ideas of Surrealism before reading Freud's books, mainly under the influence of contemporary French psychiatric thought (Jean-Martin Charcot and Pierre Janet). Artistic interests of Surrealist movement were far from deep interest in psychoanalysis, so the connection between Surrealism and Freud's psychoanalysis should not be given too much significance. Freud's interest in unconscious is motivated by the therapeutic purposes, while Breton mainly saw subversive power and artistic potential in the unconscious. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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.)

The text refers to the surrealist invention of automatic writing examined in the anthropological and historical perspective. The aim of the article is to show the relationships of automatic writing with other non-literary cultural practices, especially graphological and spiritualistic. These practices explore the unconscious, strictly individual components of writing, aimed at revealing the social and psychological truth about the subject. They are also to show the domain of what is rejected by modern rationalism. In this article I want to show that the link between modernity, the avant-garde and the subconsciousness or superconsciousness is a complex epistemic fight with modern political and social administration that goes beyond the field of art to the field of broadly understood culture. [ABSTRACT FROM AUTHOR]

It is often said that the advent of the Freudian talking cure around 1900 revolutionised the psychiatric setting by giving patients a voice. Less known is that for decades prior to the popularisation of this technique, several researchers had been experimenting with another, written practice aimed at probing the mind. This was particularly the case in France. Alongside neurologist Jean-Martin Charcot's spectacular staging of hypnotised bodies, 'automatic writing' became widely used in fin-de-siècle clinics and laboratories, with French psychologists regularly asking entranced patients to scribble down words to validate their nascent theories on the divided self. This article traces the emergence of automatic writing in French psychological discourse at the close of the 19th century. By focusing on the early work of Dr Pierre Janet and some of his contemporaries, it re-examines the role played by this practice in what Henri Ellenberger famously called 'The Discovery of the Unconscious'. It also considers the various levels of reconstruction at play in recent historical accounts. What does it mean to give subjects a (written) voice? How does automatic writing differ from the Freudian talking cure as respective expressions of the unspeakable? And how might these questions inform future historical practice? [ABSTRACT FROM AUTHOR]

Tomorrow: Post-Humanist Artistic Translation The Polish translation of Alfred Jarry’s Ubu Roi carried out by means of Google Translate and published by Piotr Marecki and Aleksandra Małecka in the Conceptual Line series (Ha!art Corporation, 2015) prompts theoretical reflections on the semantic value and artistic potential of machine (“non-subjective”) translation. It also allows for a revision of the existing hypotheses of historians, theoreticians, critics, and practitioners of literary translation regarding the role of the translator in interlingual and intercultural communication.

In the 1924 Manifesto of Surrealism surrealist leader André Breton (1896-1966) defined Surrealism as ‘psychic automatism in its pure state,’ positioning ‘psychic automatism’ as both a concept and a technique. This definition followed upon an intense period of experimentation with various forms of automatism among the proto-surrealist group; predominantly automatic writing, but also induced dream states. This article explores how surrealist ‘psychic automatism’ functioned as a mechanism for communication, or the expression of thought as directly as possible through the unconscious, in the first two decades of Surrealism. It touches upon automatic writing, hysteria as an automatic bodily performance of the unconscious, dreaming and the experimentation with induced dream states, and automatic drawing and other visual arts-techniques that could be executed more or less automatically as well. For all that the surrealists reinvented automatism for their own poetic, artistic and revolutionary aims, the automatic techniques were primarily drawn from contemporary Spiritualism, psychical research and experimentation with mediums, and the article teases out the connections to mediumistic automatism. It is demonstrated how the surrealists effectively and successfully divested automatism of all things spiritual. It furthermore becomes clear that despite various mishaps, automatism in many forms was a very successful creative technique within Surrealism.

Dagmar Atladóttir and Sandra Huber combine practices of Icelandic paganism and contemporary witchcraft, via methodologies of ceramics and automatic writing, to create a God's Nail, which attunes to voices between myths, fantasies, and deities. Created with earth and water, and passed through fire in the kiln, the God's Nail points to histories of the accused witches burned at the stake during the European witch-hunts as well as the importance of the elements in contemporary witchcraft. Situated within the wildfires that were raging during the summer of their collaboration, the essay also discusses the violence of colonization and capitalism that was unleashed during the 'burning times,' the trend of 'witchiness,' and the importance of occulted channels of communication, which can act as refrains between the seen and unseen, heard and unheard. [ABSTRACT FROM AUTHOR]

Computer automatic writing is an important research field in artificial intelligence. Most of the existing methods are based on a certain template, and the generated text is relatively single. There is no hint or recommendation about the content of the writing，and the rhetoric of the article is less colorful. In order to make automatic writing articles more attractive we can use some of the practical writing parallel sentences according to the calculation theme and similarity join the automatic writing works，making the works more vivid. This article mainly used word segmentation，POS tagging，punctuation，word co-occurrence ，and completed verification technology，automatic identification of parallel features and segment specification in the literature of period bet-ween the characteristics of parallelism. The experimental results show that the accuracy of this method is selected to reach more than 93%，compared with similar research，the accuracy rate is improved. [ABSTRACT FROM AUTHOR]

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o 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.)