This thesis aims to conduct an analysis of some specific aspects of Max Ernst's collage novels, in particular La femme 100 têtes and Une semaine de bonté, made between 1929 and 1934. The first chapter of this thesis aims to highlight the relationship between verbal and visual dimension in the Ernstian collages considered in their different variants, trying to demonstrate the influence exercised on Ernst by reading, assiduous since the time of his university studies in Bonn , of the texts of Sigmund Freud, in particular Wit and its relation the unconscious. Secondly, we aim to highlight the contribution made by Ernst to the tradition of the livre de peintre, with an overview of the period between the beginnings in the artistic field and the publication of La femme 100 têtes, dedicating particular attention to the collections of poems and collage Répétitions and Les malheurs des Immortels (1922), made in collaboration with Paul Éluard. The second chapter of this thesis aims to conduct an analysis of the narrative strategies underway in the romans-collages, trying to define the organizational logics of texts and images. In particular, the first and third novels (La femme 100 têtes and Une semaine de bonté) are considered. We also enter into the merits of the interpretative question of the works taken into consideration, developing the main critical positions and, where possible, trying to integrate their reflection. A poorly investigated aspect, in relation to the collage novels, is the relationship between the "sequencing" of the Ernestian images in diegetic progression and the aesthetics of cinema: yet Breton, right from the presentation text of the collage exhibition at Au Sans Pareil, had paved the way for such a prospect, noting that Max Ernst “projects sous nos yeux le film le plus captivant du monde”. The third chapter aims to identify, within the collage novels, some operational practices that define points of contact with the cinematographic imagination, in the light of the tradition of the “moving image” and of the main theoretical positions taken by the surrealists in relation with cinema. The relationship between Ernst's works and the popular cinema celebrated by the members of the surrealist group (in particular Fantômas and Les Vampires, by Louis Feuillade) is analyzed, also highlighting the dialogue with contemporary literary experiences linked to the cinematographic imagery (above all, Aragon’s Anicet ou le panorama). We also proceed to explore a substantially unprecedented perspective on the relationship between the romans-collages and the film medium, firstly by analyzing the strategies for transposing the collage sequences to the cinema: in particular, the translation of Une semaine de bonté in animated film, made by Jean Desvilles in collaboration with Ernst himself in 1961, is taken into consideration. Finally, we aim to consider the international reception of the Ernstian collage novels, trying to demonstrate the specific influence of the collage novels on a certain component of American experimental cinema (in particular of the West Coast), especially in the work of artists such as Lawrence Jordan and Harry Smith, starting from the early sixties, consequently to the years of American exile lived by Ernst during the Second World War.
Questa tesi si propone di condurre un’analisi di alcuni specifici aspetti dei romans-collages di Max Ernst, in particolare La femme 100 têtes e Une semaine de bonté, realizzati tra il 1929 e il 1934. Il primo capitolo di questo elaborato si propone di mettere in luce il rapporto tra dimensione verbale e visuale nei collage ernstiani considerati nelle loro diverse varianti, cercando di dimostrare l’influenza esercitata su Ernst dalla lettura, assidua fin dai tempi dei suoi studi universitari a Bonn, dei testi di Sigmund Freud, in particolare Il motto di spirito e la sua relazione con l’inconscio. In seconda battuta, ci si propone di evidenziare il contributo apportato da Ernst alla tradizione del livre de peintre, con una panoramica sul periodo compreso tra gli esordi in campo artistico e la pubblicazione di La femme 100 têtes, dedicando particolare attenzione alle raccolte di poesie e collage Répétitions e Les malheurs des Immortels (1922), realizzate in collaborazione con Paul Éluard. Il secondo capitolo di questo elaborato si propone di condurre un’analisi delle strategie narrative in atto nei romans-collages, cercando di definire le logiche organizzative di testi e immagini. Sono presi in considerazione, in particolare, il primo e il terzo romanzo (La femme 100 têtes e Une semaine de bonté), accomunati da una polisemia narrativa fortemente attenuata nel secondo (Rêve d’une petite fille qui voulut entrer au Carmel), strutturato in una progressione diegetica più coerente, per quanto onirica e destabilizzante. Si entra, inoltre, nel merito della questione interpretativa delle opere prese in considerazione, sviluppando le principali posizioni critiche e, laddove possibile, cercando di integrarne la riflessione. Un aspetto scarsamente indagato, in relazione ai romans-collages, è il rapporto tra l’operazione di “messa in sequenza” delle immagini ernstiane in progressione diegetica e l’estetica del cinema: eppure Breton, fin dal testo di presentazione della mostra di collage all’Au Sans Pareil, aveva aperto la strada a una simile prospettiva, osservando che Max Ernst «projette sous nos yeux le film le plus captivant du monde». Il terzo capitolo si propone di individuare, all’interno dei romans-collages, alcune pratiche operative che definiscano dei punti di contatto con l’immaginario cinematografico, alla luce della tradizione dell’image en mouvement e delle principali posizioni teoriche assunte dai surrealisti in relazione al cinema. Si analizza il rapporto tra le opere ernstiane e il cinema popolare celebrato dai membri del gruppo surrealista (in particolare Fantômas e Les Vampires, di Louis Feuillade), mettendo in luce inoltre il dialogo con esperienze letterarie coeve legate all’immaginario cinematografico (su tutte, Anicet ou le panorama di Aragon). Si procede, inoltre, a esplorare una prospettiva sostanzialmente inedita relativa al rapporto tra i romans-collages e il medium filmico, in primo luogo analizzando le strategie di trasposizione delle sequenze di collage al cinema: in particolare, è presa in considerazione la traduzione di Une semaine de bonté in film di animazione, operata da Jean Desvilles in collaborazione con lo stesso Ernst nel 1961. Ci si interroga, infine, relativamente alla ricezione internazionale delle opere ernstiane prese in considerazione, cercando di dimostrare la specifica influenza dei romans-collages su una certa componente del cinema sperimentale statunitense (in particolare della West Coast), segnatamente nell’opera di artisti come Lawrence Jordan e Harry Smith, a partire dai primi anni Sessanta, conseguentemente agli anni di esilio americano vissuti da Ernst durante la Seconda Guerra Mondiale.
(2021). Strategie verbo-visuali nei romans-collages di Max Ernst . Retrieved from http://hdl.handle.net/10446/190698
Strategie verbo-visuali nei romans-collages di Max Ernst
ZUCCHINALI, Andrea
2021-02-19
Abstract
This thesis aims to conduct an analysis of some specific aspects of Max Ernst's collage novels, in particular La femme 100 têtes and Une semaine de bonté, made between 1929 and 1934. The first chapter of this thesis aims to highlight the relationship between verbal and visual dimension in the Ernstian collages considered in their different variants, trying to demonstrate the influence exercised on Ernst by reading, assiduous since the time of his university studies in Bonn , of the texts of Sigmund Freud, in particular Wit and its relation the unconscious. Secondly, we aim to highlight the contribution made by Ernst to the tradition of the livre de peintre, with an overview of the period between the beginnings in the artistic field and the publication of La femme 100 têtes, dedicating particular attention to the collections of poems and collage Répétitions and Les malheurs des Immortels (1922), made in collaboration with Paul Éluard. The second chapter of this thesis aims to conduct an analysis of the narrative strategies underway in the romans-collages, trying to define the organizational logics of texts and images. In particular, the first and third novels (La femme 100 têtes and Une semaine de bonté) are considered. We also enter into the merits of the interpretative question of the works taken into consideration, developing the main critical positions and, where possible, trying to integrate their reflection. A poorly investigated aspect, in relation to the collage novels, is the relationship between the "sequencing" of the Ernestian images in diegetic progression and the aesthetics of cinema: yet Breton, right from the presentation text of the collage exhibition at Au Sans Pareil, had paved the way for such a prospect, noting that Max Ernst “projects sous nos yeux le film le plus captivant du monde”. The third chapter aims to identify, within the collage novels, some operational practices that define points of contact with the cinematographic imagination, in the light of the tradition of the “moving image” and of the main theoretical positions taken by the surrealists in relation with cinema. The relationship between Ernst's works and the popular cinema celebrated by the members of the surrealist group (in particular Fantômas and Les Vampires, by Louis Feuillade) is analyzed, also highlighting the dialogue with contemporary literary experiences linked to the cinematographic imagery (above all, Aragon’s Anicet ou le panorama). We also proceed to explore a substantially unprecedented perspective on the relationship between the romans-collages and the film medium, firstly by analyzing the strategies for transposing the collage sequences to the cinema: in particular, the translation of Une semaine de bonté in animated film, made by Jean Desvilles in collaboration with Ernst himself in 1961, is taken into consideration. Finally, we aim to consider the international reception of the Ernstian collage novels, trying to demonstrate the specific influence of the collage novels on a certain component of American experimental cinema (in particular of the West Coast), especially in the work of artists such as Lawrence Jordan and Harry Smith, starting from the early sixties, consequently to the years of American exile lived by Ernst during the Second World War.File | Dimensione del file | Formato | |
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