{"title":"美与超现实主义小说的震撼。娜佳》（1928 年，A. 布勒东）和《泽诺比亚》（1985 年，G. 纳姆）","authors":"Florin Oprescu","doi":"10.4467/20843917rc.23.020.18514","DOIUrl":null,"url":null,"abstract":"The CONVULSIVE Beauty and the Convulsions of the Surrealist Novel. Nadja (1928, A. Breton) and Zenobia (1985, G. Naum) The article examines some of the communicating vessels (« vases communicants ») between André Breton’s theoretical surrealism and Gellu Naum’s neo-surrealism praxis. The focus of the analysis is also on the intersection points among the two novels, Nadja (1928) and Zenobia (1985), defining moments of beginning and of the last surrealism. The aim is to determine the synthetic (theoretical and practical) manifesto of Breton’s novel, Nadja, and the pure poetic act of the last European surrealist novel, Zenobia. Although the correspondences seemed clarified by Romanian literary criticism, the present article offers a new, in-depth and contrastive perspective on the « convulsive beauty », from theory to practice.","PeriodicalId":506885,"journal":{"name":"Numéro spécial","volume":"62 4","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"La Beauté CONVULSIVE et les convulsions du roman surréaliste. Nadja (1928, A. Breton) et Zenobia (1985, G. Naum)\",\"authors\":\"Florin Oprescu\",\"doi\":\"10.4467/20843917rc.23.020.18514\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The CONVULSIVE Beauty and the Convulsions of the Surrealist Novel. Nadja (1928, A. Breton) and Zenobia (1985, G. Naum) The article examines some of the communicating vessels (« vases communicants ») between André Breton’s theoretical surrealism and Gellu Naum’s neo-surrealism praxis. The focus of the analysis is also on the intersection points among the two novels, Nadja (1928) and Zenobia (1985), defining moments of beginning and of the last surrealism. The aim is to determine the synthetic (theoretical and practical) manifesto of Breton’s novel, Nadja, and the pure poetic act of the last European surrealist novel, Zenobia. Although the correspondences seemed clarified by Romanian literary criticism, the present article offers a new, in-depth and contrastive perspective on the « convulsive beauty », from theory to practice.\",\"PeriodicalId\":506885,\"journal\":{\"name\":\"Numéro spécial\",\"volume\":\"62 4\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-12-15\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Numéro spécial\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.4467/20843917rc.23.020.18514\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Numéro spécial","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4467/20843917rc.23.020.18514","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
超现实主义小说中的 "震荡之美 "与 "震荡"。Nadja (1928, A. Breton) and Zenobia (1985, G. Naum) 这篇文章探讨了安德烈-布勒东（André Breton）的超现实主义理论与盖鲁-瑙姆（Gellu Naum）的新超现实主义实践之间的一些交流容器（"交流花瓶"）。分析的重点还在于两部小说《娜佳》（1928 年）和《泽诺比亚》（1985 年）之间的交汇点，这两部小说是超现实主义的开端和终结。目的是确定布勒东小说《娜佳》的综合（理论和实践）宣言和欧洲最后一部超现实主义小说《泽诺比亚》的纯诗歌行为。尽管罗马尼亚文学批评似乎已经澄清了这些对应关系，但本文从理论到实践为 "震撼之美 "提供了一个新的、深入的对比视角。
La Beauté CONVULSIVE et les convulsions du roman surréaliste. Nadja (1928, A. Breton) et Zenobia (1985, G. Naum)
The CONVULSIVE Beauty and the Convulsions of the Surrealist Novel. Nadja (1928, A. Breton) and Zenobia (1985, G. Naum) The article examines some of the communicating vessels (« vases communicants ») between André Breton’s theoretical surrealism and Gellu Naum’s neo-surrealism praxis. The focus of the analysis is also on the intersection points among the two novels, Nadja (1928) and Zenobia (1985), defining moments of beginning and of the last surrealism. The aim is to determine the synthetic (theoretical and practical) manifesto of Breton’s novel, Nadja, and the pure poetic act of the last European surrealist novel, Zenobia. Although the correspondences seemed clarified by Romanian literary criticism, the present article offers a new, in-depth and contrastive perspective on the « convulsive beauty », from theory to practice.
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