000			03177nam a2200337Ia 4500
003			pucpr
005			20260716142316.0
008			041912s1993 maua b 00110 eng d
020			_a9780262560818
035			_aAEA1252AQ
040			_apucpr _beng _cpucpr _dpucpr _erda
041			_aspa
049			_aCARIBET
082			_aN6494.S8 _bF66 1993
090			_aN6494.S8 _bF66 1993
100	1	0	_aFoster, Hal _93342
245	1	0	_aCompulsive Beauty : _cHal Foster. _htxt
264			_aUnited States : _bThe Mit Press , _c1993.
300			_axxi, 313 p. _bill. ; _c23cm. _fbook
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediaded _bn
338			_2rdacarrier _avolume _bnc
500			_aIndex
504			_aIncludes bibliographical references and index.
505			_aContents: Preface XI -- 1 Beyond The Pleasure Principle? 1 -- 2 Compulsive Beauty 19 -- 3 Convulsive Identity 57 -- 4 Fatal Attraction 101 -- 5 Exquisite Corpses 125 -- 6 Outmoded Spaces 157 -- 7 Auratic Traces 193 -- 8 Beyond The Surrealism Principle? 209 -- Notes 215 -- List of Illustrations 299 -- Index 305 --
520			_aSurrealism has long been seen as its founder, Andre Breton, wanted it to be seen: as a movement of love and liberation. In Compulsive Beauty, Foster reads surrealism from its other, darker side: as an art given over to the uncanny, to the compulsion to repeat and the drive toward death. To this end Foster first restages the difficult encounter of surrealism with Freudian psychoanalysis, then redefines the crucial categories of surrealism -- the marvelous, convulsive beauty, objective chance -- in terms of the Freudian uncanny, or the return of familiar things made strange by repression. Next, with the art of Giorgio de Chirico, Max Ernst, and Alberto Giacometti in mind, Foster develops a theory of the surrealist image as a working over of a primal fantasy. This leads him finally to propose as a summa of surrealism a body of work often shunted to its margins: the dolls of Hans Bellmer, so many traumatic tableaux that point to difficult connections not only between sadism and masochism butal so between surrealism and fascism. At this point Compulsive Beauty turns to the social dimension of the surrealist uncanny. First Foster reads the surrealist repertoire of automatons and mannequins as a reflection on the uncanny processes of mechanization and commodification. Then he considers the surrealist use of outmoded images as an attempt to work through the historical repression effected by these same processes. In a brief conclusion he discusses the fate of surrealism today in a world become surrealistic. Compulsive Beauty not only offers a deconstructive reading of surrealism, long neglected by Anglo American art history, but also participates in a postmodern reconsideration of modernism, the dominant accounts of which have obscured its involvements in desire and trauma, capitalist shock and technological development --
650		0	_aSurrealism _9176064 _2Local
650		0	_aPsychoanalysis and art _2Local _9154691
650		0	_aErotic art. _992712 _2Local
942			_2lcc _c6 _hN6494.S8 _kGeneral _mF66 1993
999			_c226344 _d226344