Search results for ""Author André Breton""

SURREALISMO: sustantivo, masculino. Automatismo psíquico puro por cuyo medio se intenta expresar, verbalmente, por escrito o de cualquier otro modo, el funcionamiento real del pensamiento. Es un dictado del pensamiento, sin la intervención reguladora de la razón ajeno a toda preocupación estética o moral.En 1924 Breton firmaba el primer manifiesto del surrealismo, donde se precisaba el intento de los surrealistas para salir de los rígidos esquemas de la razón y de la observación realista de los hechos para buscar significados ulteriores y vínculos más auténticos con las profundidades del yo. Apoyándose en los descubrimientos freudianos, se tendió a examinar el mundo de los sueños y del inconsciente, con interés por estados como el automatismo psíquico, la locura, la hipnosis, para registrar sus datos e intentar la unificación de los contrarios en el proyecto de una reconstrucción integral de la personaliad.

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Andre Breton (Tinchebray, 1886 - París, 1966) es una figura dominante de la literatura contemporánea. Instigador del surrealismo y figura principal de ese movimiento, Bretón es autor de una poesía difícil pero cautivante en la que las imágenes insólitas posibilitan la conexión de realidades diferentes, en las que siempre respiramos esplendor y libertad. Traducción de Manuel álvarez Ortega. Edición bilingüe.

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Obra fundamental del surrealismo (movimiento que acaso fuera la mayor propuesta de cambio material y espiritual del siglo XX surgida de las ideas estéticas), " El amor loco " es uno de los libros de André Breton en el que mejor se aprecian sus artes y recursos de escritor. En esta novela en la que el ser humano y el mundo mantienen en cada momento una misteriosa y mágica interrelación y que funde la crónica, el ensayo y el poema en prosa, la casualidad y el deseo, lo vital y lo onírico, Breton tiende un puente frente a la lógica con el que trata de eliminar las diferencias entre lo oscuro y lo luminoso y superar las barreras morales y psicológicas que nos impiden acceder a nosotros mismos.

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NADJA is a Surrealist romance, and has come to be known as a book which defined that movement's attitude towards life. With its blend of intimate confession and sense of the marvellous, NADJA weaves a myterious and compelling tapestry of daily life as seen through a magical perspective. Combining autobiographical fact with memory and imagination, Breton spins one of the most unusual love stories in modern literature.

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"L'humour Noir" is one of the seminal concepts of Surrealism, and Breton's famous anthology is his definitive statement on the subject. It contains provocative assessments of the writers he most admired. Some, such as Kafka, Swift, Rimbaud, Poe, Lewis Carroll and Baudelaire, are well known, but other names will come as a revelation to many - as will the passages Breton includes by writers you thought you knew. Breton's original foreword, considered to be one of his most important theoretical essays, is included, along with his preface to the 1966 edition. For each of the 45 authors included, Breton writes a biographical and critical preface, placing their work in the context of black humour, which, as readers will discover for themselves, is a partly macabre, partly ironic, and often absurd turn of spirit that Breton defined as "a superior revolt of the mind."

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Mad Love has been acknowledged an undisputed classic of the surrealist movement since its first publication in France in 1937. Its adulation of love as both mystery and revelation places it in the most abiding of literary traditions, but its stormy history and technical difficulty have prevented it from being translated into English until now. ""There has never been any forbidden fruit. Only temptation is divine,"" writes André Breton, leader of the surrealists in Paris in the 1920s and '30s. Mad Love is dedicated to defying ""the widespread opinion that love wears out, like the diamond, in its own dust."" Celebrating breton's own love and lover, the book unveils the marvelous in everyday encounters and the hidden depths of ordinary things.

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What Freud did for dreams, André Breton (1896–1966) does for despair: in its distortions he finds the marvelous, and through the marvelous the redemptive force of imagination. Originally published in 1932 in France, Les Vases communicants is an effort to show how the discoveries and techniques of surrealism could lead to recovery from despondency. This English translation makes available "the theories upon which the whole edifice of surrealism, as Breton conceived it, is based." In Communicating Vessels Breton lays out the problems of everyday experience and of intellect. His involvement with political thought and action led him to write about the relations between nations and individuals in a mode that moves from the quotidian to the lyrical. His dreams triggered a curious correspondence with Freud, available only in this book. As Caws writes, "The whole history of surrealism is here, in these pages."

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Presents the essential ideas of the founder of French surrealism.

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Originally published in France in 1934, Break of Day is André Breton’s second collection of critical and polemical essays, following The Lost Steps (Nebraska 1996). In fewer than two hundred pages, it captures the first full decade of the surrealist movement. The collection opens with an essay composed in 1924 that examines key elements of surrealism and concludes with Breton’s harsh revaluation in 1933 of automatic writing. Among the other essays in the volume are “Burial Denied” and “In Self-Defense,” two pieces that, in translator Mark Polizzotti’s words, “mark surrealism’s conscious break from the mainstream and the beginning of its attempts to work alongside the French Communist Party.” Also included are “Psychiatry Standing before Surrealism,” which addresses Breton’s complex, ambivalent views on mental illness and the emerging psychiatric establishment; “Introduction to Achim von Arnim's Strange Tales,” which reveals surrealism’s debt to such precursors as the German romantics and delineates a surrealistic aesthetic of the macabre; and “Picasso in His Element,” in which Breton demonstrates his formidable talents as a critic of the visual arts.

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