Michel Leiris: du bon usage du surréalisme
Michel Leiris took part in the Surrealist movement from December 1924 to February 1929. He was introduced to it by André Masson, whose studio at 45, rue Blomet he frequented, along with Limbour, Artaud, Tual, Jouhandeau and Salacrou, all of whom had links with Max Jacob and were driven by a «furious...
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| izdano v: | URI:https://journals.openedition.org/studifrancesi, |
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| Format: | Article ou chapitre numérique |
| Jezik: | Français |
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Studi Francesi
2025
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | Michel Leiris took part in the Surrealist movement from December 1924 to February 1929. He was introduced to it by André Masson, whose studio at 45, rue Blomet he frequented, along with Limbour, Artaud, Tual, Jouhandeau and Salacrou, all of whom had links with Max Jacob and were driven by a «furious appetite for the marvellous, a desire to break away from ordinary reality or, at any rate, to transfigure it». Their collaboration was characterised by a «large-scale operation on language», whether it was the poems in Simulacre, the dreamlike montage Au pays de mes rêves, the “novels” Point cardinal, Grande fuite de neige and Aurora, or the publication in “La Révolution surréaliste” of the first issues of Glossaire j’y serre mes gloses and the dream stories collected in Nuits sans nuit. |
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