ISSN: 13682679
First published in 1998
4 issues per volume
Volume 14 Issue 1 & 2
Cover Date: May 2011
Ted Joans' surrealist history lesson
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Authors:  Joanna Pawlik 
DOI: 10.1386/ijfs.14.1-2.221_1

Keywords
Negritude,modernism,African American,surrealism,Ted Joans,

Abstract

This article argues for the importance of Ted Joans within histories of surrealism, which seldom acknowledge the existence of the movement post-World War II or its participants outside of interwar Paris. Since the early 1960s, Joans contributed to both the Paris and Chicago groups of surrealists, who continued to proclaim the relevance of mad love, the marvellous, and dreams to a radical politics long after the movement was alleged to have deceased. The majority of the article, however, addresses Joans' work composed prior to his formal involvement with surrealism, exploring how his invocation of surrealist influence was framed by a narrative of surrealism's legacy of radical anti-colonialism and anti-racism to diasporic writers, artists and intellectuals such as Etienne Lro and Aim Csaire. Joans' work self-consciously embeds his engagement with surrealism within a matrix of transatlantic cultural dialogues which dislodge it from its supposed headquarters in Paris in the interwar years, undermines its profile as white, Francophone and bourgeois, and problematizes unilateral models of influence. Drawing on Surrealist aesthetics, his early work deploys modernist formal innovation as a means to reflect on the historiography of modernism, and performatively protests the unequal access to the political and cultural ideals of modernity.
Cet article plaide pour l'importance de Ted Joans au sein des histoires du surralisme, qui reconnat rarement l'existence d'aprs-guerre du mouvement ou ses participants l'extrieur de l'entre-deux guerres de Paris. Depuis le dbut des annes 1960, Joans a contribu des groupes surralistes de Paris et de Chicago, qui ont continu de proclamer la pertinence de l'amour fou, le merveilleux et rve d'une politique radicale, longtemps aprs que le mouvement tait cens avoir disparu. La majorit de l'article, toutefois, porte sur l'uvre de Joans compos avant de sa participation officielle avec le surralisme, explorant comment son invocation d'influence surraliste a t formule par un rcit de surralisme hrit de l'anticolonialisme radical et lutte contre le racisme la diaspora des crivains, des artistes et des intellectuels comme Etienne Lro et Aim Csaire. Travaux de Joans incorpore consciemment ses fianailles avec le surralisme dans une matrice de dialogues culturelles transatlantiques qui il dloger de son sige suppose Paris dans l'entre-deux-guerres, compromet son profil blanc, francophone et les bourgeois et pose des problmes aux modles d'influence unilatrales. S'appuyant sur l'esthtique surraliste, ses premiers ouvrages dploient innovation formelle moderniste comme un moyen de rflchir sur l'historiographie du modernisme et proteste contre l'ingalit d'accs aux idaux politiques et culturels de la modernit.
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