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This document discusses the surrealists' interest in automatic images produced by the unconscious mind. It explores how surrealists like Andre Breton drew upon Jean Charcot's classifications of inner speech (heard voices, motor speech, spoken images) to develop the concept of psychic automatism. The surrealists sought to represent these automatic images produced in the mind through artworks that could capture images passing through the mind and find a form to signify them publicly.
This document discusses the surrealists' interest in automatic images produced by the unconscious mind. It explores how surrealists like Andre Breton drew upon Jean Charcot's classifications of inner speech (heard voices, motor speech, spoken images) to develop the concept of psychic automatism. The surrealists sought to represent these automatic images produced in the mind through artworks that could capture images passing through the mind and find a form to signify them publicly.
This document discusses the surrealists' interest in automatic images produced by the unconscious mind. It explores how surrealists like Andre Breton drew upon Jean Charcot's classifications of inner speech (heard voices, motor speech, spoken images) to develop the concept of psychic automatism. The surrealists sought to represent these automatic images produced in the mind through artworks that could capture images passing through the mind and find a form to signify them publicly.
73 1he automatic image by glass something that cannot be seen,. It is also the image ot a tgure haltvay through one place to another (interiorexterior,, like the mirror in Alice in Wonderland that signites the membrane betveen tvo vorlds. In the image Breton is caught, trapped betveen places in the position ot a splitting. 38 It vas precisely a splitting ot the subject (a chiasmus, that surrealism demanded the subject occupy, as a spectator to their ovn thoughts. An act that simultaneously reasserts and thvarts the cogito ot Descartes I think theretore I am. 39 1he surrealists meditation on presence in the vorld tries to situate the subject vhere it is not thinking, vithin the productivity ot the unconscious and its thing-presentations. But vith the automatic image produced in the mind, a means ot concrete registration, ot representation had to be tound, deployed tor its public signitcation. With the subject supposed to be the spectator (ex-centric, to their ovn thought production processes, the art vas to capture an image as it passed through the mind and tnd a torm (rhetoricmeans ot dramatization, tor its signitcation. lor the concept ot psychic automatism Breton knev and drev on distinctions previously made in lrench psychiatry by ean Charcot. Charcot had synthesized nineteenth-century studies on endophasie, the concept ot inner speech, a langage intrieur. Charcot classited dinerent categories ot manitestation ot interior images into verbo-auditif (heard voice,, verbo-moteur (motor speech, body movements, hands etc., and verbo-visuel (spoken images,. Breton, avare ot such categories, did not take tor granted these detnitions and borroved trom them tor the idea ot an automatic image in surrealism. 1hese categories ot inner speech vere already in vider use, not only in discussions about psychology, but also about the status ot these inner voices in literature. 60
ean Cazaux in his short study Surralisme et psychologie (Surrealism and Psychology, (+,:, catalogues the interest in interior speech in psychology and in relation to the simultaneous, but separate interest vithin literary circles. Cazaux notes the tendency ot modern literature to drav on the psychological domain ot human activity and argued that the vorks ot Marcel Proust, ames oyce and surrealists all shov dinerent types ot interest in an : It might have been vorth quoting Iacan here tor a passage tailor-made to open up Bretons example tor analysis: the interest the subject takes in his ovn split is bound up vith that vhich determines it namely, a privi- leged object, vhich has emerged trom some primal separation, trom some selt-mutilation induced by the very approach ot the real, vhose name, in our algebra, is the objet a. acques Iacan, The Four Fundamentals of Psychoanalysis (Iondon: Hogarth Press, +,;,,, p. :. 1his supports the thesis that uncanny images are derived trom and rooted in the return ot a primaloriginal tantasy. , Iacan tamously plays vith this tormulation: What one ought to say is: I am not vherever I am the plaything ot my thought, I think ot vhat I am vhere I do not think to think (Ecrits, p. +oo,. oo See ean Cazaux, Surral- isme et psychologie (Paris: Iibrarie ose Corti, +,:,, pp. +:o. lreud also reters to Charcots use ot the inner speech categories in his essay Childhood and Screen Memories (see lreuds The Psychopathology of Everyday Life).
A LM Still (Photograph) From Man Ray's Cinépoéme' As A Photograph in La Centre of André Breton's Essay, Le Surréalisme Et La Peinture' in La Révolution Surréaliste, No. - , October