Surrealism has long been seen as its founder, Andre Breton, wanted it to be seen: as a movement of love and liberation. In "Compulsive Beauty", Foster reads surrealism from its other, darker side: as an art given over to the uncanny, to the compulsion to repeat and the drive toward death. To this end Foster first restages the difficult encounter of surrealism with Freudian psychoanalysis, then redefines the categories of surrealism - the marvellous, convulsive beauty, objective change - in terms of the Freudian uncanny, or the return of familiar things made strange by repression. Next, with the art of Giorgio de Chirico, Max Ernst, and Alberto Giacometti in mind, Foster develops a theory of the surrealist image as a working over a primal fantasy. This leads him finally to propose as a summa of surrealism a body of work often shunted to its margins: the dolls of Hans Bellmer, so many traumatic tableaux that point to difficult connections not only between sadism and masochism but also between surrealism and fascism. At this point "Compulsive Beauty" turns to the social dimension of the surrealist uncanny. First Foster reads the surrealist repertoire of automatons and mannequins as a reflection on the uncanny processes of mechanization and commodification. Then he consisers the surrealist use of outmoded images as an attempt to work through the historical repression effected by these same processes. In a brief conclusion he discusses the fate of surrealism today in a world become surrealistic. "Compulsive Beauty" not only offers a deconstructive reading of surrealism, long neglected by Anglo-American art history, it also participates in a postmodern reconsideration of modernism, the dominant accounts of which have obscured its involvements in desire and trauma, capitalist shock and technological development.
"synopsis" may belong to another edition of this title.
-- Jane Beckett, "Times Higher Education Supplement"
" In exhilarating, thoughtful and subtle arguments, Foster takes surrealist interpretations of psychoanalysis into a shocking encounter with the Freudian uncanny.... [An] extremely important book." -- Jane Beckett, "Times Higher Education Supplement"
& quot; In exhilarating, thoughtful and subtle arguments, Foster takes surrealist interpretations of psychoanalysis into a shocking encounter with the Freudian uncanny.... [An] extremely important book.& quot; -- Jane Beckett, Times Higher Education Supplement
"In exhilarating, thoughtful and subtle arguments, Foster takes surrealist interpretations of psychoanalysis into a shocking encounter with the Freudian uncanny.... [An] extremely important book."--Jane Beckett, "Times Higher Education Supplement"
Hal Foster is Associate Professor of Art History and Comparative Literature at Cornell University. He is an editor of the journal OCTOBER.
"About this title" may belong to another edition of this title.
Seller: Midtown Scholar Bookstore, Harrisburg, PA, U.S.A.
Hardcover. Condition: Acceptable. Acceptable, Reading copy only, with writing/markings, bumps/creasing, and heavy wear. Standard-sized. Seller Inventory # mon0000319634
Seller: Better World Books Ltd, Dunfermline, United Kingdom
Condition: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Seller Inventory # GRP76196402
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Seller: Browsing Is Arousing, Middlebury, VT, U.S.A.
Condition: Very Good. Hardcover in a bright dust jacket. Surrealism has long been seen as its founder, André Breton, wanted it to be seen: as a movement of love and liberation. In Compulsive Beauty, Foster reads surrealism from its other, darker side: as an art given over to the uncanny, to the compulsion to repeat and the drive toward death. To this end Foster first restages the difficult encounter of surrealism with Freudian psychoanalysis, then redefines the crucial categories of surrealism?the marvelous, convulsive beauty, objective chance?in terms of the Freudian uncanny, or the return of familar things made strange by repression. Next, with the art of Giorgio de Chirico, Max Ernst, and Alberto Giacometti in mind, Foster develops a theory of the surrealist image as a working over of a primal fantasy. This leads him finally to propose as a summa of surrealism a body of work often shunted to its margins: the dolls of Hans Bellmer, so many traumatic tableaux that point to difficult connections not only between sadism and masochism butal so between surrealism and fascism. At this point Compulsive Beauty turns to the social dimension of the surrealist uncanny. First Foster reads the surrealist repertoire of automatons and mannequins as a reflection on the uncanny processes of mechanization and commodification. Then he considers the surrealist use of outmoded images as an attempt to work through the historical repression effected by these same processes. In a brief conclusion he discusses the fate of surrealism today in a world become surrealistic. Compulsive Beauty not only offers a deconstructive reading of surrealism, long neglected by Anglo-American art history, but also participates in a postmodern reconsideration of modernism, the dominant accounts of which have obscured its involvements in desire and trauma, capitalist shock and technological development. Record # 379158. Seller Inventory # 379158
Seller: Magus Books Seattle, Seattle, WA, U.S.A.
Hardcover. Condition: VG-. Dust Jacket Condition: Very Good. used hardcover in a dust jacket. jacket is slightly worn about the edges, with a small<1in open tear to top of spine and not price clipped. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws. some sunfading to spine. Seller Inventory # 1352439
Seller: South Congress Books, Austin, TX, U.S.A.
Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition. An OCTOBER Book. Near Fine/Near Fine. Hardcover; gray cloth; gilt titles; 313 pp.; illustrated in b/w; one short closed tear in jacket; else a clean and crisp copy. Seller Inventory # 004881
Seller: R&R Better Books, Martinez, CA, U.S.A.
Hardcover. Condition: Very Good. Dust Jacket Included. * Book cover like new, light wear at end caps - pages clean, bright and unmarked; date and initials on half title page of unknown identity spine like new. * Jacket like new, light shelf wear. * Proceeds benefit Friends of the Library; books sold are NOT ex-library. * "Honest and reliable service - every book hand-packaged with care.". Seller Inventory # FOL0175
Seller: Anthology Booksellers, Portland, OR, U.S.A.
Cloth. Condition: Fine. Dust Jacket Condition: Fine. First edition. An October Book. 4to, 313 pp., b/w illus. Seller Inventory # 6306
Seller: Mullen Books, ABAA, Marietta, PA, U.S.A.
Hardcover. Gray cloth boards with gilt lettering. Turquoise dust jacket with color-illustration and white lettering. Mylar jacket. 313 pp. Occasional BW photographs. The author reads Surrealism from its darker side: as an arts given over to the uncanny, to the compulsion to repeat and the drive toward death. VG/VG: Exlibrary book. Sticker on the dust jacket at the base of the spine. Plate on the front free end page. Sticker on the back free end page. In great, clean condition with solid binding. Seller Inventory # 205461
Seller: Mullen Books, ABAA, Marietta, PA, U.S.A.
Hardcover. Gray cloth boards with gilt lettering. Turquoise dust jacket with color-illustration and white lettering. 313 pp. Occasional BW photographs. The author reads Surrealism from its darker side: as an arts given over to the uncanny, to the compulsion to repeat and the drive toward death. Good, with slight wear to cover edges. Seller Inventory # 166547