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A close analysis of Bunuel's and the Order of Toledo's making of
iconoclastic public art. In 1923, Luis Bunuel established the Order
of Toledo, a parody order of knights whose members included
Salvador Dali, Garcia Lorca, and Rafael Alberti. Together, they
often visited the ancient Spanish capital to stroll through
itslabyrinthine streets. But these excursions on the part of Bunuel
and the Brotherhood were more than simple episodes of cultural
sightseeing; they were happenings, public interventions in space.
This book explores the anti-artistic aspect of these activities and
urban perambulations. Are these practices similar to the flanerie
of the Dadaists and French Surrealists? Taking into account their
liberal, Spanish context, what was new about them, and what did
they mean? Does their aesthetic experimentation make for
ideological radicalism? And what impact do these first steps have
on Bunuel's subsequent work and his later ideological trajectory?
Maria Soledad Fernandez Utrera is Associate Professor of Spanish at
The University of British Columbia.
This book, written in Spanish, focuses on the literary and artistic
works of such avant-garde figures as Ram n G mez de la Serna,
Benjam n Jarn s, Antonio de Obreg n, Juan Chab s, Rosa Chacel,
Claudio de la Torre, Almada Negreiros, Maruja Mallo, Mauricio
Amster, Manuel Reinoso, Diego Rivera, and Angeles Santos y Victorio
Macho. It identifies the attempt to integrate conflicting
epistemological, ethical, and sociopolitical categories as the
organizational principle driving the avant-garde novel and art.
Seen as a means of escaping the Cartesian dualism of mind and
matter, the conflict between ethical institutionism and
utilitarianism, and the opposition of liberalism by socialism, this
"middle path" manifests itself in the avant-garde on various
levels: the theory of representation, the development of the
protagonist, and the concept of history.
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