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المراجع

الفصل الأول: الدادائية والسريالية: نبذة تاريخية

  • Tristan Tzara, ‘Zurich Chronicle’, in R. Motherwell (ed.), The Dada Painters and Poets (Belknap, 1989), p. 236.
  • Hans Arp, ‘Dadaland’, tr. H. Richter, in Dada: Art and Anti-Art (Thames &; Hudson, 1965), p. 25.
  • Hugo Ball, Flight Out of Time, tr. A. Raimes, ed. J. Elderfield (University of California Press, 1996), p. 63.
  • Richard Huelsenbeck, ‘Dada Lives’, Transition, 25 (Fall 1936), 77–80.
  • Richard Huelsenbeck, ‘Dada Manifesto 1918’, in R. Motherwell (ed.), Dada Painters, pp. 244, 243.
  • Tristan Tzara, ‘Dada Manifesto’ (1918), in Seven Dada Manifestoes and Lampisteries, tr. B. Wright (John Calder, 1981), p. 5.
  • Francis Picabia, ‘Cannibal Manifesto’, in R. Huelsenbeck (ed.), Dada Almanach, new edn. presented by M. Green (Atlas, 1993), pp. 55–6.
  • André Breton, ‘Après Dada’, Comedia (March 1922).
  • André Breton, ‘First Surrealist Manifesto’, in Manifestoes of Surrealism, tr. R. Seaver and H. R. Lane (University of Michigan, 1972), pp. 26, 10.

الفصل الثاني: «الحياة أفضل»: الترويج للدادائية والسريالية

  • André Breton, ‘Rather Life’ (Clair de Terre, 1930), from André Breton, ‘Selected Poems’, tr. Kenneth White (Cape Editions, 1969).
  • Hugo Ball, Flight Out of Time, pp. 70-71.
  • Salvador Dalí, ‘The Conquest of the Irrational’, tr. H. Finkelstein, in The Collected Writings of Salvador Dalí (Cambridge University Press, 1998), p. 265.
  • George Orwell, ‘Benefit of Clergy: Some Notes on Salvador Dalí’ (1944), Essays, ed. J. Carey (Everyman, 2002), pp. 654, 660.
  • Marcel Duchamp, ‘The Richard Mutt Case’, The Blind Man, 2 (1917).
  • André Breton, ‘Marcel Duchamp’, tr. M. Polizzotti, in A. Breton, The Lost Steps (University of Nebraska Press, 1996), p. 86.
  • Benjamin Péret, ‘The Chicago Eucharist Congress’, from Remove Your Hat and Other Writings, tr. D. Gascoyne and H. Jennings (Atlas, 1986), p. 37.
  • Walter Benjamin, ‘Surrealism: The Last Snapshot of the European Intelligentsia’, in W. Benjamin, Reflections, ed. P. Demetz, tr. E. Jephcott (Harcourt Brace Jovanovich, 1978), p. 182.
  • George Grosz, letter to Otto Schmalhausen, 15 December 1917, from H. Knust, George Grosz (Hamburg, 1979), pp. 56-7.
  • Louis Aragon, Paris Peasant, tr. Simon Watson Taylor (Pan Books, 1980), p. 52.

الفصل الثالث: الفن ونقيض الفن

  • Hugo Ball, ‘Dada Manifesto’ (1916), in Flight Out of Time, p. 221.
  • Kurt Schwitters, ‘Murder Machine 43’, in K. Schwitters, Poems Performance Pieces Proses Plays Poetics, ed. J. Rothenberg and P. Jorris (Temple University, 1993), p. 29.
  • Paul Eluard, L’Amour la poésie (Gallimard, 1922), p. 122.
  • André Breton, ‘Free Union’, tr. R. Howard, in Maurice Nadeau, The History of Surrealism (Penguin, 1978), pp. 309–10.
  • Benjamin Péret, ‘Quatre à Quarte’ from ‘De Derrière Les Fagots’ (1934), tr. A. Balakian in her Surrealism: The Road to the Absolute (Unwin Books, 1972), p. 151.
  • Tristan Tzara, ‘Dada Manifesto 1918’, in Seven Dada Manifestoes, p. 5.
  • Excerpt from the trances from André Breton, ‘Entrée des Médiums’, tr. M. Polizzotti, in A. Breton, The Lost Steps, p. 94.
  • Hans Arp, ‘Dadaland’, in his On my Way: Selected Poetry and Essays (Wittenborn, Schultz, 1948), pp. 46, 40.
  • Tristan Tzara, ‘Dada Manifesto 1918’, in Seven Dada Manifestoes, p. 9.
  • Susan Sontag, On Photography (Penguin, 1977), p. 52.
  • André Breton, ‘Introduction to the Discourse on the Paucity of Reality’, tr. B. Imbs, in A. Breton, What is Surrealism? Selected Writings, ed. F. Rosemont (Pluto, 1978), p. 26.
  • Salvador Dalí, This Quarter (Paris, 1932), p. 199.
  • Meret Oppenheim (on ‘My Nurse’), text by Jennifer Mundy, Surrealism: Desire Unbound (Tate Publishing, 2001), p. 45.
  • Georges Bataille, ‘L’Esprit moderne et le jeu des transpositions’, Documents, 8 (1930), 490-1.

الفصل الرابع: «مَن أنا؟» عقل أم روح أم جسد؟

  • Tristan Tzara, ‘Dada Manifesto 1918’, from Seven Dada Manifestoes, pp. 5, 8.
  • Louis Aragon, Treatise on Style, tr. A. Waters (University of Nebraska, 1991), p. 72.
  • Wieland Herzfelde, catalogue of the First International Dada Fair, Berlin, 1920.
  • Raoul Hausmann, ‘Dada in Europa’, Der Dada, 3 (April 1920).
  • André Breton, Second Manifesto of Surrealism, in Manifestoes of Surrealism, p. 123.
  • Berlin Dada members, ‘Legen Sie Ihr Geld in Dada!’, Der Dada, 1 (June 1919).
  • André Levisan (on Mary Wigman), Theatre Arts (Feb. 1929), 144.
  • Hugo Ball, ‘Occultism and Other Things Rare and Beautiful’, as quoted by Hans Arp, ‘Dadaland’, in On my Way, p. 40.
  • George Grosz, ‘Kaffeehaus’, Neue Blätter für Kunst und Dichtung, 1 (Nov 1918), p. 155.
  • André Breton, Qu’est ce que le surréalisme? (Paris, 1934), p. 25.
  • Excerpt from the ‘Recherches sur la sexualité’, eleventh session, 26 January 1931, tr. J. Imrie, in J. Pierre (ed.), Investigating Sex: Surrealist Discussions 1928–1932 (Verso, 1992), pp. 196-7.
  • Aragon’s comment was from the second session, published in La Révolution Surréaliste, 11 (Mar. 1928).

الفصل الخامس: السياسات

  • André Breton, Second Surrealist Manifesto in Manifestoes of Surrealism, p. 128.
  • Whitney Chadwick, Women Artists and the Surrealist Movement (Thames &; Hudson, 1985), p. 13.
  • Marcel Duchamp, The Bride Stripped Bare by her Bachelors, Even (The ‘Green Box’ notes), tr. George Heard Hamilton (Percy Lund, Humphries &; Co. and George Wittenborn, 1960), unpaginated.
  • Hugo Ball, as quoted in Hans Richter, Dada: Art and Anti-Art, p. 23 Documents, definition of ‘man’, tr. I. White, in Robert Lebel and Isabelle Waldberg (eds.), Encyclopaedia Acephalic (Atlas, 1995), p. 56.
  • Aimé Césaire, Return to my Native Land, tr. J. Berger and A. Bostock (Penguin, 1969), p. 49.
  • Wifredo Lam, as quoted in Max-Pol Fouchet, Wifredo Lam (New York, 1976), p. 199.
  • André Breton, ‘The Presence of the Gauls’, in his Surrealism and Painting, tr. Simon Watson Taylor (Icon Editions, 1972), p. 333.
  • Raoul Hausmann, ‘Pamphlet gegen die Weimarische Lebensauffassung’ (164/1: 44), as cited by Richard Sheppard, Modernism-Dada-Postmodernism (Northwestern University Press, 2000), p. 336.
  • André Breton, Diego Rivera, and Leon Trotsky, ‘Towards a Free Revolutionary Art’, tr. in Charles Harrison and Paul Wood, Art in Theory 1900–1990 (Blackwells, 1992), p. 529.
  • Tristan Tzara, ‘La Surréalisme et l’après-guerre’ (Paris 1948), tr. in Helen Lewis, Dada Turns Red (Edinburgh University Press, 1990), p. 164.
  • André Breton, ‘Charles Fourier’, in his Anthology of Black Humour, tr. M. Polizzotti (City Light Books, 1997), p. 39.

الفصل السادس: إعادة النظر إلى الدادائية والسريالية

  • Hal Foster, ‘L’Amour Faux’, Art in America (Jan. 1986), p. 128.
  • Guy Debord, ‘Excerpt from Report on the Construction of Situations and on the International Situationist Tendency’s Conditions of Organisation and Action’ (June 1957), as reprinted in Iwona Blazwick (ed.), An Endless Passion … an Endless Banquet (ICA and Verso, 1989), p. 26.
  • Raoul Vaneigem, The Revolution of Everyday Life, tr. J. Fullerton and P. Sieveking (Rising Free Collective, 1979), p. 177.
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