Zur Selbstpositionierung der Surrealisten um 1924
Anarchistinnen, Mörderinnen und Kulturakteurinnen als Vor- und Feindbilder
DOI:
https://doi.org/10.15460/apropos.13.2232Keywords:
avant-garde, surrealism, gender, women writers, anarchismAbstract
What would the literary history of Surrealism – and the historical avant-gardes as a whole – look like if it were consistently written from a gender perspective? Prompted by this question, these reflections focus on Surrealism between 1924 and 1925, when Breton asserted his version of the term Surrealism against those of competing actors and positioned it within the cultural field of his time through the publication of the first Manifeste du surréalisme (1924).
Previous research on the self-positioning of Surrealism in its founding years has tended to marginalize or reduce to mere anecdote the function of ‚female‘ role models and antagonists. By contrast, this study takes three politically and/or artisti-cally engaged women – the anarchist Germaine Berton as well as the authors Aurel and Rachilde – as examples to show how the initially indistinct movement took on the specific contours of Surrealism through the symbolical appropriation or delegitimization of the political and cultural achievements of women activists and artists.
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Copyright (c) 2024 Margot Brink
This work is licensed under a Creative Commons Attribution 4.0 International License.