With this important new book, Susan Suleiman lays the foundation for a postmodern feminist poetics and theory of the avant-garde. She shows how the figure of Woman, as fantasy, myth, or metaphor, has functioned in the work of male avant-garde writers and artists of this century. Focusing also on women's avant-garde artistic practices, Suleiman demonstrates how to read difficult modern works in a way that reveals their political as well as their aesthetic impact. Suleiman directly addresses the subversive intent of avant-garde movements from Surrealism to postmodernism. Through her detailed readings of provocatively transgressive works by André Breton, Georges Bataille, Roland Barthes, Alain Robbe-Grillet, Marcel Duchamp, Max Ernst, and others, Suleiman demonstrates the central role of the female body in the male erotic imagination and illuminates the extent to which masculinist assumptions have influenced modern art and theory. By examining the work of contemporary women avantgarde artists and theorists--including Hélène Cixous, Marguerite Duras, Monique Wittig, Luce Irigaray, Angela Carter, Jeanette Winterson, Leonora Carrington, Barbara Kruger, Jenny Holzer, and Cindy Sherman--Suleiman shows the political power of feminist critiques of patriarchal ideology, and especially emphasizes the power of feminist humor and parody. Central to Suleiman's revisionary theory of the avant-garde is the figure of the playful, laughing mother. True to the radically irreverent spirit of the historical avant-gardes and their postmodernist successors, Suleiman's laughing mother embodies the need for a link between symbolic innovation and political and social change.
... Marcel Duchamp's Monte Carlo Bond Machine , " October 59 ( Winter 1992 ) : 25 ; and as the prophet Moses , see Dawn Ades , Neil Cox , and David Hopkins , Marcel Duchamp ( London : Thames and Hudson , 1999 ) , 139.
Coping strategies like creaming do not necessarily have a subversive intent. Ambiguities, interpretations, and difficult choices are commonplace on different levels of policy and implementation processes.
The visual contrast between the rewards of justice and those of iniquity finds its justification in the words of the poem alongside the image. It was the poem which confirmed and broadcast the subversive intent of the depiction.
She recounts her ongoing quest for personal history, interweaving it with the stories of present-day Hungarians struggling to make sense of the changes in their individual and collective lives.
Children of Albion Rovers (Edinburgh: Canongate, 1996). 9 Alan Freeman, 'Ghosts in Sunny Leith: Irvine Welsh's Trainspotting', in Susanne Hagemann (ed.), Studies in Scottish Fiction: 1945 to the Present (Frankfurt: Peter Lang, ...
а an irreverent send - up of morality drama rather than a genuine specimen with any serious message . ... to an understanding of the interlude , and is a perfect expression of what Jonathan Dollimore refers to as the perverse dynamic .
The visual contrastbetween the rewardsof justice and thoseofiniquity finds its justificationin thewords ofthepoem alongsidethe image.It was the poem which confirmed and broadcast the subversive intent of the depiction.
Opened champagne bottles with napkins tied around the necks are humorously perceived as decapitated human figures by the speaker , for whom the napkins resemble large neckties like the kind worn by clowns . The patrons are reflected in ...
Studies of the Society for the Philosophy of Sex and Love: 1993-2003 Adrianne Leigh McEvoy. love, con't. respect and l., 192–194 romantic l., 4, 5, 25, 27, 33, 34, 109–113, 115, 133, 134, 142, 164, 233–236, 239, 241, 243, 244, 300, 305, ...
... his baroque and at the same time modern understanding that “ all men are actors and con - artists wearing masks ” ( Camus ) . ... als , Distanz ” von der Welt zu halten , kommt es genau wie im Pikaroroman nicht zu einer fruchtbaren ...