The persistence of irony: interfering with surrealist black humour
2006; Taylor & Francis; Volume: 20; Issue: 1 Linguagem: Inglês
10.1080/09502360600559761
ISSN1470-1308
Autores Tópico(s)Comics and Graphic Narratives
ResumoClick to increase image sizeClick to decrease image size Notes 1. See Mark Polizzotti ‘Laughter in the Dark’, introduction to André Breton, Anthology of Black Humor, trans. Mark Polizzotti (San Francisco: City Lights, 1997), for a fuller description of the publishing history of the work. All future references to this volume will be given in the text. 2. William Solomon, ‘Secret Integrations: Black Humor and the Critique of Whiteness’, Modern Fiction Studies, 49 (2003), p. 471. 3. See Max F. Schulz, ‘Towards a Definition of Black Humor’, in S. B. Cohen (ed.) Comic Relief (Carbondale: University of Illinois Press, 1978). 4. Paul C. Ray, The Surrealist Movement in England (Ithaca: Cornell University Press, 1971); Matthew Winston, ‘Humour noir and Black Humor’ in Veins of Humor, ed. Harry Levin (Cambridge, MA: Harvard University Press, 1972). 5. Mireille Rosello, L'Humour noir selon André Breton (Paris: José Corti, 1987); Annie Le Brun, ‘L'humour noir’, in Ferdinand Alquié (ed.), Le Surréalisme, (The Hague: Mouton, 1968), p. 100. 6. Rosello, ibid., p. 57. 7. V. N. Vološinov, Freudianism, A Marxist Critique, (London: Academic Press, 1976), p. 113. 8. See Norman Knox, The Word Irony and its Context, 1500–1755 (Durham, NC: Duke University Press, 1961). 9. Henri Bergson, Laughter, An Essay on the Meaning of the Comic, trans. Cloudesley Brereton and Fred Rothwell (London: Macmillan, 1907), p. 64. 10. Susan Suleiman, ‘Surrealist Black Humor: Masculine/Feminine’, Papers of Surrealism, www.surrealismcentre.ac.uk/publications/papers/journal1, p. 3. 11. Charles Baudelaire, ‘On the Essence of Laughter’, in The Painter of Modern Life, trans. Jonathan Mayne (London: Phaidon, 1995), p. 154. 12. Ibid., p. 156. 13. Paul de Man, ‘The Rhetoric of Temporality’, in Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism (London: Routledge, 1983), p. 220. 14. Ibid., p. 214. 15. Percy Wyndham Lewis, ‘The Meaning of the Wild Body’, in The Wild Body (Haskell House: New York, 1970), p. 246. 16. Lewis, ‘A Soldier of Humour’, ibid., p. 5. 17. Ibid., p. 4. 18. Peter Nicholls, Modernisms: A Literary Guide (Basingstoke: Macmillan, 1995), p. 123. 19. Ray, op cit., p. 57; Le Brun, op cit., p. 100. 20. Sigmund Freud, ‘Humour’, in The Complete Psychological Works of Sigmund Freud, Volume 12, trans. James Strachey, James Strachey and Anna Freud (eds.), (London: Hogarth Press, 1958), p. 220. 21. Simon Critchley, On Humour (London: Routledge, 2002), p. 102. 22. Sigmund Freud, Jokes and Their Relation to the Unconscious, trans. James Strachey, Angela Richards (ed.) (London: Penguin, 1991), p. 167. 23. Walter Benjamin, The Arcades Project, trans. Howard Eiland and Keven McLaughlin (London: Belknapp/Harvard University Press, 2002), p. 458. 24. G. W. F. Hegel, Aesthetics: Lectures on Fine Art, Vol. 1, trans. T. M. Knox (Oxford: Clarendon, 1975), p. 65. 25. See ‘Publisher's Note’ to Max Ernst, Une Semaine de Bonté: a Surrealist Novel in Collage (New York: Dover Publications, 1976), p. vi. 26. Freud, ‘Humour’, op cit., p. 218. 27. Louis Aragon, Paris Peasant, trans. Simon Watson Taylor (Boston: Exact Change, 1994), p. 117. 28. Cited in Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1991), pp. 257–60. 29. Jürgen Habermas, The Philosophical Discourse of Modernity, trans. Frederick Lawrence (Cambridge: Polity, 1987), p. 108. 30. Benjamin, The Arcades Project, op cit., p. 462. 31. André Breton, ‘Surrealist Situation of the Object’, in Manifestoes of Surrealism, op cit., p. 273. 32. Ibid., p. 260. 33. Ibid., p. 260. 34. Hegel, Aesthetics, op cit., p. 609. For the sake of clarity, I use this translation rather than Polizzotti's version from the City Lights edition. 35. Hegel provides the example of Goethe's ‘Meeting Again’. Here, he says, ‘we have before us no subjective longing, no being in love, no desire, but a pure delight in the topics, an inexhaustible self-yielding of imagination, a harmless play, a freedom in toying alike with rhyme and ingenious metres …’. Hegel, ibid., p. 611. 36. Walter Benjamin, ‘Surrealism: Last Snapshot of the European Intelligentsia’, in One Way Street, trans. Edmund Jephcott and Kingsley Shorter (London: Verso, 1997), p. 237. 37. Walter Benjamin, ‘On Some Motifs in Baudelaire’, in Illuminations, trans. Harry Zohn (London: Fontana, 1992), p. 190. 38. Benjamin, ‘Surrealism’, op cit., p. 239. 39. Aragon, op cit., p. 189. 40. Benjamin, ‘Surrealism’, op cit., p. 230. 41. Ibid., p. 233. 42. Theodor Adorno, Notes to Literature Volume 1, trans. Shierry Weber Nicholson (New York: Columbia University Press, 1991), p. 89. 43. Theodor Adorno and Max Horkheimer, ‘Juliette Or Enlightenment and Morality’, in Dialectic of Enlightenment, trans. John Cumming (London: Verso, 1995), p. 85. 44. See Jacques Lacan, The Seminar of Jacques Lacan Vol. 7, Jacques Alain Miller (ed.) (London: Tavistock/Routledge, 1992). 45. Vološinov, op cit., p. 89. 46. Hegel, op cit., p. 68. 47. Immanuel Kant, Critique of Judgement, trans. James Creed Meredith (Oxford: Clarendon Press, 1952), p. 203. 48. Ibid., p. 204. 49. See Francis Hutcheson, Reflections upon Laughter, and, Remarks upon the Fable of the Bees (New York: Garland, 1971). 50. Mark G. Ward, Laughter, Comedy and Aesthetics: Kleist's Der zerbrochne Krug, (DMLS: Durham, 1989), p. 46. 51. See Annie le Brun, Sade: A Sudden Abyss, trans. Camille Naish (San Francisco: City Lights, 1990). 52. Gilles Deleuze, Masochism: Coldness and Cruelty, trans. Jean McNeil (New York: Zone Books, 1989), p. 76. 53. Frances Deutsch Louis, Swift's Anatomy of Misunderstanding (London: George Prior, 1981), p. xvi. 54. Jonathan Swift, ‘Genteel and Ingenious Conversation’, in Jonathan Swift, Angus Ross and David Woolley (eds.), (Oxford: Oxford University Press, 1984), p. 580. 55. See Lawrence E, Klein, Shaftesbury and the Culture of Politeness (Cambridge: Cambridge University Press, 1994), p. 182, for a discussion of Swift, institutions and the public sphere. 56. Anthony Earl of Shaftesbury, ‘Sensus Communis: An Essay Upon the Freedom of Wit and Humour’, in Characteristicks (London: Smith, 1963), p. 46. 57. Ibid., pp. 45–6. 58. Ian Higgins, ‘The Politics of A Modest Proposal’, Symposium on Jonathan Swift and the Politics in his Age (Dublin: Deanery of St. Patrick's, 2003), http://www.unh.edu/english/swift 59. Breton refers, among other things, perhaps, to the ‘Hausmannisation’ of Paris that converted its Arcadian byways to rational space. 60. See Maurice Blanchot, Lautréamont and Sade (Paris: Minuit, 1963). 61. Theodor Adorno, ‘Parataxis: On Hölderlin's Late Poetry’, Notes to Literature Vol 2, trans. Shierry Weber Nicholson (New York: Columbia University Press, 1991), p. 137.
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