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The language of the Surrealist manifestoes: An expansion of aesthetics and stylistic expressivity.

机译：超现实主义宣言的语言：美学和文体表现力的扩展。

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摘要

This dissertation seeks to determine if, through the results of this detailed study, the manifesto can be integrated as an important form in literary criticism and ultimately classified as a new genre. Through a detailed analysis of the stylistics of the major Surrealist manifestoes written from 1924 to 1936, I have been able to trace how each Surrealist conveyed to the reader a keen insight into the creation of what the Surrealists have come to call sur-realite. The Surrealists were obviously dissatisfied with the kind of reality that previous writers had created in their works. Common to all the Surrealists, in fact, was the conviction that philosophical, religious, and moral concepts no longer responded to their needs, and that the literary forms they had inherited from the past were too limited to give shape to their own vision of the world. Even considering the variations among these manifestoes, my study has shown that the Surrealists came to recognize that they had to look for new ways of creating innovations in their writing and that the most flexible medium to achieve their vision of the world was not in the presentation of themes and motifs but in the flexibility of language. However, one of the peculiarities of these manifestoes is that the Surrealists realized that they couldn't say what they wanted to through the means of critical, logical language alone. Thus, they turned to the highly expressive literary images and metaphors found in fiction and poetry. The emphasis of this dissertation, therefore, is on a thorough examination of the expressive language of the manifestoes and how the use of these appropriated literary forms as a source for criticism created an expansion of critical writing. The techniques derived from the art and craft of manifesto-writing opened up new avenues of approaches to interpreting and writing about literary works. If the results of my study--a study that would also have to be applied to all of the other "isms" that have produced manifestoes--are not sufficient to attribute the status of a genre to the manifesto, the techniques derived from the art and craft of manifesto-writing could nevertheless be used to indicate that Surrealism has created an environment in which critical writing goes beyond providing interpretive approaches and insights into the work and instead recreates the atmosphere of the literary work. (Abstract shortened by UMI.).
机译：本论文试图通过这项详细研究的结果来确定宣言是否可以作为文学批评的重要形式并最终归类为一种新类型。通过对1924年至1936年间写的主要超现实主义宣言的文体进行详细分析，我能够追踪到每个超现实主义者如何向读者传达了对超现实主义者所称的超现实主义者的敏锐见解。超现实主义者显然对以前的作家在他们的作品中创造的那种现实不满意。实际上，所有超现实主义者的共同信念是，哲学，宗教和道德观念不再满足他们的需求，而且他们从过去继承的文学形式过于局限，无法塑造他们自己对宗教的看法。世界。即使考虑到这些宣言之间的差异，我的研究也表明，超现实主义者开始认识到他们必须寻找新的写作方式来创造创新，而实现陈述世界的最灵活的媒介却不在演讲中。主题和主题，但语言灵活。但是，这些宣言的特点之一是，超现实主义者意识到，他们无法仅通过批判性，逻辑性语言来表达自己想要说的话。因此，他们转向小说和诗歌中发现的具有高度表现力的文学意象和隐喻。因此，本论文的重点是对宣言表达语言的透彻研究，以及如何使用这些适当的文学形式作为批评的来源，从而扩大了批判性写作。宣言写作艺术和手工艺所衍生出的技术开辟了新的途径来解释和写作文学作品。如果我的研究结果（一项研究也必须适用于已产生宣言的所有其他“主义”的研究）不足以将一种体裁的地位归因于宣言，那么从尽管如此，宣言写作的手工艺仍然可以用来表明超现实主义创造了一种环境，在这种环境中，批判性写作超越了为作品提供解释性的方法和见解，反而重现了文学作品的氛围。 （摘要由UMI缩短。）。

著录项

  • 作者

    Kuenzer, Kathleen Ann.;

  • 作者单位

    The University of Texas at Dallas.;

  • 授予单位 The University of Texas at Dallas.;
  • 学科 Comparative literature.;Modern literature.;Rhetoric.
  • 学位 Ph.D.
  • 年度 1997
  • 页码 240 p.
  • 总页数 240
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 康复医学;
  • 关键词

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