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- Genre: Periodicals
- Creators: Kavky, Samantha
- Creators: Nowak, Lars
- Resource Type: Text
General Topics Issue No. 2
Cover Image: Kati Horna, S.NOB #1 cover, 1962, ink on paper. Instituto de Investigaciones Filológicas, Mexico City, Mexico
Published: 2021-04-19
The Journal of Surrealism and the Americas: Vol. 11 No. 2 (2020) - Table of Contents
"Agustín Cárdenas: Sculpting the 'Memory of the Future' by Susan L. Power, p. 98-119.
"Bataillean Surrealism in Mexico: S.NOB Magazine (1962)" by David A.J. Murrieta Flores, p. 120-151.
"Mexican Carnival: Profanations in Luis Buñuel's Films Nazarín and Simón del desierto" by Lars Nowak, p. 152-177.
"Giorgio de Chirico, the First Surrealist in Mexico?" by Carlos Segoviano, p. 178-197?
"Exhibition Review: 'I Paint My Reality: Surrealism in Latin America' by Danielle M. Johnson, p. 198-204.
This article adds to previous interpretations of Luis Buñuel’s ambiguous attitude towards Christianity by means of Mikhail Bakhtin’s concept of profanation as developed in his theory of carnivalism. Earlier approaches to Buñuel have either paid too little attention to the question of how his Mexican films, the largest share of his work, were influenced by the cultural context of their production, or they have explicitly denied such an influence. In contrast, this essay tries to demonstrate, on the basis of Nazarín (1959) and Simón del desierto (1965), that Buñuel’s textual strategies of profanation were informed by his experiences as an emigrant in the United States and Mexico, and by ideas concerning the Mexican amalgamation of Spanish Catholicism and indigenous religious beliefs. The title characters of both films, a Catholic priest and an ancient stylite, have chosen lifestyles that are meant to bring them closer to God, but alienate them from their fellow men and their own physical existence. Yet, both movies restore their protagonists’ ordinary humanness and connection to material reality with the help of various carnivalesque profanations that find expression in spatial movements within the vertical as well as the horizontal dimension. The horizontal movements comprise the micro- and the macro-geographical level and link the old world with the new world, which includes both the Mexican countryside and New York City. The essay uses these observations to compare Buñuel with other European Surrealists in Mexican exile, who shared his ambivalence towards religion, but sometimes lacked the high degree of critical differentiation with which he looked at Mexican culture.
The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008) - Table of Contents
“Surrealism and Ethnography: Introduction” by Amy H. Winter, p. i-vi.
“Totemic Landscapes and Vanishing Cultures Through the Eyes of Wolfgang Paalen and Kurt Seligmann” by Marie Mauzé, p. 1-24.
“Surrealist Visions of Pre-Columbian Mesoamerica and the Legacy of Colonialism: the Good, the (Revalued) Bad, and the Ugly” by Keith Jordan, p. 25-63.
“Surrealism and Inuit Art: The Fascination of the Far North” by Florence Duchemin-Pelletier, p. 64-94.
“Bound Objects and Blurry Boundaries: Surrealist Display and (Anti)Nationalism” by Susan Power, p. 95-113.
“Man Ray’s Lost and Found Photographs: Arts of the Americas in Context” by Wendy Grossman, p. 114-139.
“T.J. Demos, The Exiles of Marcel Duchamp” by Bradley Bailey, p. 140-144.
“The Dalí Renaissance: New Perspectives on His Life and Art after 1940 and Danser Gala: L’Art Bouffe de Salvador Dalí” by Mary Ann Caws, p. 145-146.
“Review of ‘The Art of Lee Miller’: Victoria and Albert Museum, 2007” by Peter Barberie, p. 147-151.
“Frida Kahlo in Philadelphia: Life and Death” by Samantha Kavky, p. 152-156.
“Thinking the ‘Post-Indian’: Remix: New Modernities in a Post-Indian World” by Claudia Mesch, p. 157-161.
The Journal of Surrealism and the Americas: Vol. 4 No. 1 (2010) - Table of Contents
“Out of Field (Fuera de campo): Marcel Duchamp in Buenos Aires” by Graciela Speranza, p. 1-14.
“Légitime défense: From Communism and Surrealism to Caribbean Self-Definition” by Lori Cole, p. 15-30.
“Remedios Varo's Mexican Drawings” by Rosa Berland, p. 30-42.
“Bee Dreaming: the Surreal Odysseys Behind Alan Glass’ Wunderkabinetts” by Gloria Orenstein, p. 43-59.
“Review of Patricia Allmer, ‘René Magritte: Beyond Painting’ by Terri Geis, p. 60-63.
“Review of Eric Ratcliffe, ‘Ithell Colquhoun: Pioneer Surrealist, Artist, Occultist, Writer and Poet’” by Elisabeth Sherman, p. 64-68.
“‘Arshile Gorky: A Retrospective’: Issues of Identity and Camouflage” by Samantha Kavky, p. 69-72.
“Review of Catherine Millet, ‘Dalí and Me’” by Jonathan S. Wallis, p. 73-77.
“Maria Martins: the Open Secret of Étant donnés. Review of ‘Marcel Duchamp. Étant donnés’” by Frédérique Joseph-Lowery, p. 78-85.
The Journal of Surrealism and the Americas: Vol. 10 No. 1 (2019) - Table of Contents
“Introduction to the Special Issue on Max Ernst” by Samantha Kavky, p. 1-6.
“Napoleon in the Wilderness: The Transmogrification of a Picture by Max Ernst” by Martin Schieder, p. 7-23.
“Seeing Through an (American) Temperament: Max Ernst’s Microbes, 1946-1953” by Danielle M. Johnson, p. 24-45.
“Max Ernst and the Aesthetic of Commercial Tourism: Max Among Some of His Favorite Dolls” by Carolyn Butler Palmer, p, 46-68.
“Arizona Dream: Maxime Rossi Meets Max Ernst” by Julia Drost, p. 69-83.
“Glowing Like Phosphorus: Dorothea Tanning and the Sedona Western” by Catriona McAra, p. 84-105.
“Conference Review: ‘SURREALISMS: the Inaugural Conference of the International Society for the Study of Surrealism’” by Kristen Strange, p. 106-110.
“Exhibition Review of ‘A Home for Surrealism: Fantastic Painting in Midcentury Chicago’” by Jennifer R. Cohen, p. 111-114.
“Exhibition Review: ‘Native American Art at Documenta 14 and the Issue of Democracy’” by Claudia Mesch, p. 115-120.
The Journal of Surrealism and the Americas: Vol. 6 No. 1 (2012) - Table of Contents
“Notes for a Historiography of Surrealism in America, or the Reinterpretation of the Repressed” by Samantha Kavky, p. i-ix.
“What Makes a Collection Surrealist?: Twentieth-Century Cabinets of Curiosities in Paris and Houston” by Katharine Conley, p. 1-23.
“Dalí, Magritte, and Surrealism’s Legacy, New York c. 1965” by Sandra Zalman, p. 24-38.
“‘What Makes Indians Laugh’: Surrealism, Ritual, and Return in Steven Yazzie and Joseph Beuys” by Claudia Mesch, p. 39-60.
“Cracking up an Alligator: Ethnography, Juan Downey’s Videos, and Irony” by Hjorleifur Jonsson, p. 61-86.
“Review of Effie Rentzou, ‘Littérature Malgré Elle: Le Surréalisme et la Transformation du Littéraire’” by Pierre Taminiaux, p. 87-90.
“In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States” by Susan L. Aberth, p. 91-94.
The Journal of Surrealism and the Americas: Vol. 9 No. 1 (2016) - Table of Contents
“Anemic Cinema: Dada/Surrealism and Film in the Americas: Introduction to the Cinema Issue” by Samantha Kavky, p. i-iii.
“‘Polycythemia,’ or Surrealist Intertextuality in the Light of Cinematic ‘Anemia’” by Robert J. Belton, p. 1-13.
“Modern Architecture Will Help You” by Ana María León, p, 14-39.
“Radio Transmission: Electricity and Surrealist Art in 1950s and ‘60s San Francisco” by R. Bruce Elder, p. 40-61.
“Surrealism in the Autobiographical Cinema of Alejandro Jodorowsky: Dance of Reality (La Danza de la realidad, 2013) and Endless Poetry (Poesía sin fin, 2016)” by George Melnyk, p. 62-66.
“Review of Wolfgang Paalen, ‘Form and Sense’ with an Introduction by Martica Sawin” by Ellen G. Landau, p. 67-72.
The Journal of Surrealism and the Americas: Vol. 1 No. 1 (2007) - Table of Contents
"Introduction to the Journal" by Samantha Kavky, Claudia Mesch, and Amy H. Winter, p. i-iii.
"Anti-Surrealist Cross-Word Puzzles: Breton, Dalí and Print in Wartime America" by Julia Pine, p. 1-29.
"William Carlos Williams’ A Novelette: an American Counterproposal to French Surrealism" by Céline Mansanti, p. 30-43
"The Vernacular as Vanguard: Alfred Barr, Salvador Dalí, and the U.S. Reception of Surrealism in the 1930s" by Sandra Zalman, p. 44-67
"Ben Cobb, Anarchy and Alchemy: The Films of Alejandro Jodorowsky" by David Church, p. 68-71
"Tamayo: A Modern Icon Reinterpreted" by Marta Julia Clapp, p. 72-76
"Robert Desnos, Surrealism, and 'Poetic Politics'" by Terri J. Gordon, p. 77-80
"Dali and the Specter of Cinema" by Frédérique Camille Joseph-Lowery, p. 81-84
"Julia Kelly's Art, Ethnography and the Life of Objects: Paris, c. 1925-1935" by Susan Power, p. 85-90
"The Janus-faced Legacy of Joseph Beuys" by Tatjana Myoko von Prittwitz, p. 91-93
"A.J. Meek, Clarence John Laughlin: Prophet Without Honor" by Jeffrey Ian Ross, p. 94-98