Focuses on Le Viol, Magritte's image for the cover of Breton's pamphlet, Qu'est-ce que le Surréalisme? (1934); concludes that much of Magritte's challenge to the fascist ideologies evoked in the pamphlet comes in the manipulation of the reception of the image; and that Le Viol exposes the fragmentation and disruption of language with regard to feminine sexuality as it is linked to present social conditions, without offering an alternative.
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