By Thomas C. Foster
Of the entire literary kinds, the radical is arguably the main discussed...and fretted over. From Miguel de Cervantes's Don Quixote to the works of Jane Austen, F. Scott Fitzgerald, Ernest Hemingway, and today's masters, the radical has grown with and tailored to altering societies and applied sciences, blending culture and innovation in all ages all through heritage.
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Extra info for How to Read Novels Like a Professor: Jaunty Exploration of the World's Favorite Literary Form
Andrés Soria Olmedo, María José Sánchez Montes, and Juan Varo Zafra (Granada: Diputación de Granada, 2000), 173. 9. While extremely important to Lorca’s conception of form, the formless, and the surreal, the ideas of Buñuel and Dalí are only considered here briefly. Regarding their relationship and artistic association with Bataille, several sources link the Buñuelian and Dalinian creative impulses to Bataille’s theories. The curious reader could refer to Dawn Ades’s work on Dalí and surrealism cited in this study, as well as Agustín Sánchez Vidal’s discussion of these complex relationships in Buñuel, Lorca, Dalí: El enigma sin fin [Buñuel, Lorca, Dalí: Enigma Without End] (Barcelona: Planeta, 2000), 208–10, 217.
The destruction of theatrical norms is similar to what Antonin Artaud (another dissident surrealist member who, like Bataille, was excommunicated from the Bretonian group) deems the “theater of cruelty,” a theater that reaches outside its borders and influences the “real” world. This “closure of representation,” as Jacques Derrida explains with reference to Artaud, is brought to the forefront of Lorca’s theatrical work as the audience rebels against the staging of the play and sets fire to the curtains.
25 In the “Second Manifesto” he also condemns dissident surrealists who had either left the group or who had been excommunicated from it. Among those denounced are Bataille, Artaud, Leiris, Jean Carrive, Joseph Delteil, Robert Desnos, Francis Gérard, Georges Limbour, André Masson, Philippe Soupault, and Roger Vitrac. Several of those disenfranchised from the surrealist group would collaborate with Bataille on the 1929–1930 review Documents, which sought to undermine surrealism from within. 26 Bataille’s thinking constantly sought to question and counteract the existing models of analyzing art, society, ethnography, and anthropology.
How to Read Novels Like a Professor: Jaunty Exploration of the World's Favorite Literary Form by Thomas C. Foster