Amazon Kindleでは、
Pulp Surrealism
をはじめとする140万冊以上の本をご利用いただけます。 詳細はこちら
| |||||||||||||||
 | 会員なら、この商品は10%Amazonポイント還元 （ポイントが表示されている場合は、表示ポイント＋10％還元）。 |
商品の説明
内容紹介
In addition to its more well known literary and artistic origins, the French surrealist movement drew inspiration from currents of psychological anxiety and rebellion running through a shadowy side of mass culture, specifically in fantastic popular fiction and sensationalistic journalism. The provocative nature of this insolent mass culture resonated with the intellectual and political preoccupations of the surrealists, as Robin Walz demonstrates in this fascinating study. "Pulp Surrealism" weaves an interpretative history of the intersection between mass print culture and surrealism, re-evaluating both our understanding of mass culture in early twentieth-century Paris and the revolutionary aims of the surrealist movement. "Pulp Surrealism" presents four case studies, each exploring the out-of the-way and impertinent elements which inspired the surrealists. Walz discusses Louis Aragon's "Le paysan de Paris", one of the great surrealist novels of Paris. He goes on to consider the popular series of "Fantomes" crime novels; the Parisan press coverage of the arrest, trial, and execution of mass-murderer Landru; and the surrealist inquiry 'Is Suicide a Solution?' , which Walz juxtaposes with reprints of actual suicide faits divers (sensationalist newspaper blurbs). Although surrealist interest in sensationalist popular culture eventually waned, this exploration of mass print culture as one of the cultural milieux from which surrealism emerged ultimately calls into question assumptions about the avant-garde origins of modernism itself.
著者について
Robin Walz is Assistant Professor of History at the University of Alaska Southeast.
登録情報
|
この本のなか見！検索より
（詳細はこちら）
書き出し
Toward the end of the first half of Le Paysan de Paris-that portion dedicated to the Opera Passageway-some of the owners of the arcade's shops got a peek at what surrealist Louis Aragon had been writing about them since the summer of 1924. 最初のページを読む
おもて表紙 | 著作権 | 目次 | 抜粋 | 索引 | 裏表紙
Toward the end of the first half of Le Paysan de Paris-that portion dedicated to the Opera Passageway-some of the owners of the arcade's shops got a peek at what surrealist Louis Aragon had been writing about them since the summer of 1924. 最初のページを読む
その他の機能
頻出単語一覧
この本のサンプルページを閲覧する
頻出単語一覧
おもて表紙 | 著作権 | 目次 | 抜粋 | 索引 | 裏表紙
カスタマーレビュー
関連商品を探す
フィードバック
- カタログ情報、または画像について報告
- 著者からのコメント
- 出版社からのコメント
|
