Vivienne Brough-Evans proposes a compelling new way of reevaluating
aspects of international surrealism by means of the category of
divin fou, and consequently deploys theories of sacred ecstasy as
developed by the College de Sociologie (1937-39) as a critical tool
in shedding new light on the literary oeuvre of non-French writers
who worked both within and against a surrealist framework. The
minor surrealist genre of prose literature is considered herein,
rather than surrealism's mainstay, poetry, with the intention of
fracturing preconceptions regarding the medium of surrealist
expression. The aim is to explore whether International surrealism
can begin to be more fully explained by an occluded strain of
'dissident' surrealist thought that searches outside the self
through the affects of ekstasis. Bretonian surrealism is widely
discussed in the field of surrealist studies, and there is a need
to consider what is left out of surrealist practice when analysed
through this Bretonian lens. The College de Sociologie and Georges
Bataille's theories provide a model of such elements of 'dissident'
surrealism, which is used to analyse surrealist or surrealist
influenced prose by Alejo Carpentier, Leonora Carrington and Gellu
Naum respectively representing postcolonial, feminist and Balkan
locutions. The College and Bataille's 'dissident' surrealism
diverges significantly from the concerns and approach towards the
subject explored by surrealism. Using the concept of ekstasis to
organise Bataille's theoretical ideas of excess and 'inner
experience' and the College's thoughts on the sacred it is possible
to propose a new way of reading types of International surrealist
literature, many of which do not come to the forefront of the
surrealist literary oeuvre.
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