Dalí's fascism ; Lacan's paranoia

Author

Greeley, Robin Adèle

Document type

Article (journal)

Language

English

Source

Art history. 2001, Num. 4, Vol. 24, 465-492, 618, 9 ill.

ISSN

0141-6790

Abstract (en)

In February 1934 Breton summoned Salvador Dalí before a Surrealist 'court' on charges of Nazi sympathizing. In Breton's mind, Dalí's fascination with Hitler threatened to bring about the 'ruin of surrealism' by exposing the ideological flaws in existing Surrealist attempts to distinguish between right-wing and left-wing politics in relation to aesthetic production. To Breton's dismay, Dalí seemed to take literally Breton's call in the First Surrealist Manifesto to produce works 'outside all aesthetic or moral preoccupations'. Yet in directing Surrealist attention to Hitler, the author argues, Dalí analyzed the 'Hitlerian phenomenon' as an apocalyptic symptom of the alienation and auto-aggression afflicting bourgeois society. In so doing, he relied heavily upon a dialogue he had struck up with Jacques Lacan concerning paranoia - what Lacan termed 'autopunition', and their relationship to the fascist persona.

Subject (en)

• General history of art -- 1800-1945 -- Pictorial arts -- Painting and drawing -- Spain
• Dalí, Salvador, 1904-1989
• Spain
• 1900-2000
• Painting
• Politics
• Fascism
• Breton, André, 1896-1966
• Lacan, Jacques, 1901-1981
• Theory
• Iconography
• Paranoia

Subject (fr)

• Histoire générale de l'art -- 1800-1945 -- Peinture et arts graphiques -- Peinture et dessin -- Espagne
• Dalí, Salvador, 1904-1989
• Espagne
• 1900-2000
• Peinture
• Politique
• Fascisme
• Breton, André, 1896-1966
• Lacan, Jacques, 1901-1981
• Théorie
• Iconographie
• Paranoïa

Origin

DatabaseBHA (Inist-CNRS/GRI)

Identifier20020701-00128683

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