Rozprawy doktorskie na temat „Leonora Carrington”

Cette thèse est consacrée à l’étude en regard l’une de l’autre des œuvres picturales et littéraires de deux artistes nées en Europe, qui fréquentèrent les cercles surréalistes parisiens dans les années 30 avant de s’exiler au Mexique durant la seconde guerre mondiale : Remedios Varo (1908-1963) et Leonora Carrington (1917-2011). Il s’agit de rechercher les points de convergence et les divergences entre les processus créatifs des deux artistes, de faire dialoguer leurs œuvres et d’interroger leurs points de collaboration créative, en se centrant sur la question des images. L’approche proposée dans ce travail est tout à la fois comparative et pluridisciplinaire, puisqu’elle s’élabore au croisement de l’histoire de l’art, de l’analyse littéraire, de l’analyse picturale et de la civilisation.Le concept d’image, dont la délimitation fait l’objet du préambule, est entendu dans quasiment toutes ses acceptions – depuis l’image picturale et l’image verbale jusqu’à l’image mentale, dont l’image onirique – et est conçu comme lieu d’intersection par excellence.La première partie de ce travail explore la question de la fabrique des images ou, pour utiliser une métaphore empruntée au langage alchimique, du laboratoire des images. Le chapitre 1 présente et théorise l’image surréaliste afin de démontrer la manière dont les deux créatrices ont su s’approprier l’« esprit » du surréalisme, invitation à une remise en cause du monde visible, pour mieux le dépasser à travers l’élaboration de « modèles de monde », en analogie avec certains processus alchimiques et occultistes. Le chapitre 2 envisage pour sa part l’exil non pas seulement comme un contexte historique et culturel ayant donné lieu à de profondes dynamiques d’influences mutuelles, mais comme une notion pivot permettant d’appréhender les phénomènes de réappropriations, d’hybridations, de transfusions créatives ou de transgressions à l’œuvre dans leurs productions.La seconde partie approfondit la mise en regard des images des deux artistes suivant un mouvement dialectique unissant images-reflets et images-distorsions. Le chapitre 3 entreprend l’analyse des autoreprésentations féminines et s’attache à mettre en évidence la façon dont celles-ci défient les images du féminin élaborées par les créateurs surréalistes masculins ; les notions de déguisement, de travestissement et de mascarade sont examinées et présentées comme inséparables de la quête de soi. Le chapitre 4, enfin, s’intéresse aux « miroirs de la relation » et à la « relation aux miroirs » des deux artistes. Dans un premier temps sont abordées les représentations de l’amitié créative unissant les deux artistes dans leur œuvre, notamment écrite, et les mécanismes de fictionnalisation qui les soutiennent. Les jeux de miroirs qu’ont disposés entre leurs images les deux femmes en écrivant à quatre mains sont ensuite analysés, ainsi que le motif pictural du miroir, lequel peut être considéré comme un emblème de la démarche créative de Remedios Varo et de Leonora Carrington, objet symbolique et magique plus que dispositif spéculaire
This PhD dissertation focuses on a literary and pictorial comparative analysis of European-born artists Remedios Varo (1908-1963) and Leonora Carrington (1917-2011) who, in the 1930s, participated in the Surrealist group in Paris and then went into exile in Mexico during World War II. The purpose of this study is to identify points of convergence and divergence in the creative process of these two artists. Equally important, this thesis will endeavor to enable a dialogue between their artworks and to examine their creative collaboration while focusing on the concept of images. The standpoint of this dissertation is at the same time comparative and multidisciplinary, for it is formulated at the junction of art history, literary analysis, pictorial analysis, and history.The notion of image, the conceptual contours of which are explained in the preamble 2 is to be understood in almost all of its significations – from pictorial and verbal image to mind-made image, in which oneiric image is to be included – and is seen as a conceptual intersection point par excellence.The first part of this study questions the construction of images or, using a metaphor borrowed from the alchemical language, the image laboratory. Chapter 1 introduces and theorizes the notion of surrealist image in order to reveal the ways in which both artists integrated into their works the surrealist state of mind, being an invitation to question the visible world, and went beyond it through the elaboration of “world models”, by analogy with specific alchemical and occultist processes. Chapter 2 not only considers exile as a historical and cultural context that gave way to profound mutual and dynamic influences, but also as a pivotal notion that enables to comprehend, in their productions, phenomena of reappropriation, hybridization, creative transfusion and transgression.The second part delves deeper into the comparison of images realized by both artists – an analysis that follows a dialectical pattern that combines the concepts of image-reflections and image-distortions. Chapter 3 analyzes female self-representations and is dedicated to reveal the way in which these representations challenge the images of the feminine as elaborated by male surrealist creators. Notions of transvestism and masquerade are examined and presented as inseparable from the quest to self-discovery.Finally, Chapter 4 pays attention to both artists’ “mirrors of relation” and “relation to mirrors”. On the one hand, this analysis addresses the creative friendship that unites both artists in their work, more specifically in their written expression, and the mechanisms of fictionalization pertaining to it. The mirror effects that are at play in the images of both artists who created fourhanded works and the pictorial motif of the mirror are also focused on in this research. Indeed, the mirror may be considered as an emblem of Remedios Varo’s and Leonora Carrington’s creative approach, not only as a specular tool but also and more importantly, as an object of symbolism and magic

The subject of this thesis is Leonora written by Elena Poniatowska. The aim of the study is to analyze the literary technique and strategy used in constructing this book which depicts the life of a famous painter, Leonora Carrington. The analysis concentrates on two aspects: the extent of its feminist character and whether it can be classified as a fictional biography or a biographic fiction. In order to arrive at a conclusion on these issues a brief summary of literary and feminist theory is presented as well as a short description of relevant aspects of the surrealist movement. According to the author Leonora does not pretend to be a biography but rather a tribute to a great woman and artist. This esay however sustains that the book is a feminist fictional biography. In fact it builds upon books written by Carrington herself with a highly autobiographical content as well as on biographical texts. Both the author and her protoganist are well-known for their feminist stand and the analysis shows how feminist theory or thinking is reflected both on behalf on the writer as well as in the construction of the hero and certain aspects of her life that build up this biographical fiction.

The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life
Master of Arts (Hons)

This thesis examines the role of the body in Sylvia Plath's The Bell Jar (1963), Angela Carter's Nights at the Circus (1985), Leonora Carrington's fiction of 1937-41, and Flannery O'Connor's fiction of 1949-65. Critical emphasis is placed upon ambivalent and paradoxical representations of the body and on the significance of the body as a site of crises in identity and memory. The implications of the problematic status of the body are addressed through a theoretical framework, informed by French feminist thought, which attempts to articulate an exchange between subjectivity and politics, psychoanalysis and history. Part I introduces the 'return to the body' as a critical inquiry which investigates the conjunction of femininity and materiality and the role of the body in the construction of sexual difference. It is proposed that in Plath's The Bell Jar the body is the site of an impasse of identity and memory; this impasse is contested by Carter's novel and interrogated in the narratives of Carrington and O'Connor. Part II demonstrates the subversive and utopian effect to which Carter employs the paradoxical body in Nights at the Circus. As a site of unresolved contradictions, the ambivalent body invokes transformations in identity and anticipates revolutions in history. Part III explores the 'savage' state of symbolic dereliction suggested by the place of feral women in Carrington's Surrealist myths of origin. It also proposes that a founding violence is discovered by Carrington in the construction of woman' as spectacle and femininity as masquerade. Part IV proposes that the irrational forces of history are registered in traumatic form in the grotesque bodies of O'Connor's narratives. It also addresses a politics of origin which implicates women, as agents and victims, in the violence of an oppressive social order.

El objetivo de la presente tesis es analizar la producción simbólica, en relación al cuerpo, de artistas surrealistas que desarrollaron sus poéticas en el contexto mexicano: Frida Kahlo, Leonora Carrington y Remedios Varo. El primer apartado comienza explorando la génesis europea del estilo y analizando el surrealismo como un movimiento cultural en el sentido amplio del término. El segundo, describe aspectos propios del despliegue surrealista en México y el trasfondo artístico autóctono en el que poseyó un papel como comunicador de valores pictóricos que se fundieron con la plástica artística mexicana produciendo una fecunda hibridación. La combinación generó obras singulares en el tejido socio-cultural del país. El tercer apartado, fundamentado en una perspectiva feminista como punto de partida, aunque superando y aunando determinados aspectos de la concepción de géneros en el plano humano, se centra en las diferencias encontradas entre la teoría patriarcal subyacente en el surrealismo ortodoxo y el enfoque autobiográfico sostenido por las mujeres artistas seleccionadas para el estudio. Los apartados cuarto, quinto y sexto tratan de analizar aspectos propios de la producción de cada una de las tres artistas, que aportan determinados valores específicos compartidos en clave de representación simbólica. En resumen, se plantea que estas pintoras, vinculadas con México, son participantes atípicas del surrealismo y la raíz de la diferencia reside de manera esencial en el hecho de contribuir con una visión reivindicativa del universo femenino en el arte principalmente entre las décadas de 1930 al 1950.
Vodermayer Sohl, MA. (2012). Claves de representación corporal en las poéticas de las pintoras surrealistas: Frida Khalo, Leonora Carrington y Remedios Varo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17798
Palancia

The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life

This study examines images and texts by Federico Garcia Lorca, Rafael Alberti, Remedios Varo and Leonora Carrington, which demonstrate an attempt at self-fashioning or selfdefinition, within a Surrealist aesthetic. Given Andre Breton's belief that through his desire for woman he could tap into his creative subconscious, this discussion asks to what extent the artists' endeavours were tempered or mediated by desire. Via a close reading of images and texts created by a collection of artists and poets chosen for the synthesis of their artistic vision, this study aims to demonstrate how Surrealism lends itself to the articulation of complex identity questions. The inclusion of painters and poets, both male and female, allows for an interrogation of the implications of gender and genre in their work. The artworks studied demonstrate that, despite the slight difference in era between Lorca and Alberti, and Varo and Carrington, they all use the malleability of Surrealism, by means of imagery of metamorphosis, decomposition and obfuscation, in works which question subjectivity and articulate a search for the self. The artists' articulations of desire which range from Remedios Varo's subtle imagery of inhuman bodies intertwining to Rafael Alberti's violent images of mortification to repress forbidden impulses form an important part of their coming of age in a Surrealist aesthetic but do not, as Breton conceived of it, act as a medium to uncover a greater truth. This study will show that united in their marginal association to the Surrealist movement, Lorca, Alberti, Varo and Carrington, all created works which demonstrate a sense of tension between two opposing states, such as subject and object, male and female, and life

This thesis focuses on the use of hermetic imagery in the work of three women artists associated with the Surrealist movement and whose pictorial/verbal vocabularies were influenced by the occult, namely Ithell Colquhoun, Leonora Carrington and Remedios '" V aro. In particular, two hermetic concepts, treated as case studies, are discussed: androgyny and the feminine principle. The examination concentrates on the work of these women but also brings into the discussion the meaning/s of the two ideas in the original sources as well as in Surrealism, since the three artists drew upon the occult but were also aware of the Surrealist discourse and by extension the Surrealist employment of the occult. This study cannot be exhaustive within the limits of a thesis. The primary objective is to establish with clarity the appropriation of androgyny and the sacred female in the oeuvre of the three artists and explore whether the significance they ascribed to these notions corroborates, contradicts or qualifies the pre-existent hermetic and Surrealist versions, thus uncovering their feminist intent. In the first part I provide the historical background of Surrealism's mounting interest in hermetic language, which was appropriated for the fabrication of a modem myth especially from the 1930s onward, and I also present the problematic position of women artists within the movement and the subsequent development of their personal mythologies that exhibit a twofold feminist/hermetic character. The next two parts centre on the two selected motifs and attempt to sketch out their conception and representation in hermeticism and in Surrealism and then to elaborate on their employment in the work of the three female Surrealists. The thesis intends to shed light on female mythmaking by Surrealist women and on the role of hermetic iconography in this process, and contributes to an elucidation of the imagery they formulated, by examining paintings and writings, several of which were hitherto rarely or partially discussed. Ab ~

Cette thèse se propose d’étudier les imaginaires créatifs de cinq artistes du XXe siècle liés au mouvement surréaliste : Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. En se centrant sur leur double pratique, littéraire et plastique, notre étude vise à circonscrire l’originalité de leurs « spectacles intérieurs ». Axées autour de l’auto-représentation, leurs œuvres interrogent la question du reflet, de l’identité et de l’appartenance à un genre. En s’imprégnant de codes et de modèles traditionnels – ou convenus – ces artistes soulignent leurs difficultés à se positionner dans un monde encore très dominé par une pensée patriarcale
This dissertation intends to study the creative imaginative worlds of five twentieth-century artists linked to the Surrealist movement : Leonora Carrington, Frida Kahlo, Gisèle Prassions, Dorothea Tanning and Unica Zürn namely. By focalizing on their double practice, i. E. Their literary and visual art practice, our study aims to define the originality of their “inscapes”. Their works, which are focused on self-representation, question the notions of reflection and identity and the fact of belonging to a particular gender. Deeply influenced by traditional or conventional codes and models, these artists emphasize the difficulties to define one’s position in a world still largely dominated by patriarchal discourses

The novel Leonora by Elena Poniatowska is about Leonora Carrington who was born into a wealthy family and challenged family traditions, and those expectations imposed by her social background and her gender. It will be shown that the main character acts according to a self-construction process free of social impositions. Simone de Beauvoir’s well-known phrase “one is not born a woman, one becomes one”, is one of the feminist positions that contributes to this analysis, as well as the literary techniques explained by Gérard Genette, Oscar Tacca, Mieke Bal and the narratology theories of focalization, direct speech, indirect speech and free indirect speech. The aim of this essay is to analyze the literary techniques that present the self-construction of the main character, and their effects on the reader. The hypotheses of this essay are that in order to present the self-construction of the character, the literary techniques create an effect of alternately zooming the reader in to the main character’s experience, and zooming out to a more objective view. In addition, the literary techniques used to present Carrington’s self-construction seek to show her feminist stance and her transgressions in both private and public spheres. Poniatowska’s literary techniques deliver the message that when a woman is released from social and cultural constraints she has the power to modify spheres.

Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema. Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.

Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.

Le propos est de mettre en lumiere au travers des univers de trois femmes peintres proches du surrealisme leonora carrington, leonor fini, dorothea tanning -, et de trois choregraphes et danseuses contemporaines martha graham, doris humphrey, carolyn carlson -, des correlations en terme de processus et de dynamismes createurs, ainsi que de contenus. De relever des projets et des trajets paralleles ou convergents, dans la facon dont l'imaginaire se constitue et se realise. De reperer, dans la mise en oeuvre de principes similaires, les expressions differentes resultant de la specificite de chaque art, pictural ou choregraphique. Ces processus sont rapportes au surrealisme, non pas en tant que mouvement historique, mais en tant qu'esthetique et ethique, pensee dialectique qui refuse de separer le reel de l'imaginaire, la poetique de la politique. Deux perspectives servent a eclairer le champ etudie et a faire surgir des questionnements. Celle de la danse, qui definit une attitude esthetique et critique a partir du champ choregraphique, en termes de mouvements et de processus. Une perspective feministe qui tient compte de la specificite de l'experience creatrice des femmes au sein decadres referentiels et contextuels dont les structures appartiennent a un systeme qui organise des rapports de domination des hommes sur les femmes. Le surrealisme offre ici un champ specifique et paradoxal ou ces structures revetent une forme particuliere, les rapports restant fondamentalement inchanges. Il s'agit donc de questionner certains referents, et de voir de quelle facon ils sont mis enjeu, ou de-joues par les femmes artistes.

À partir d’un corpus constitué de trois romans d’Elena Poniatowska, Querido Diego, te abraza Quiela (1978), Tinísima (1992), Leonora (2011), nous explorons les caractéristiques significatives de l’écriture fictionnelle poniatowskienne qui met la femme au centre de son univers narratif. Notre étude met en relief l’hybridité générique de ces trois ouvrages à partir de l’étude du livre-objet, puis de l’analyse des seuils. Nous montrons que l’auteure recrée la vie et l’oeuvre de trois artistes étrangères exilées au Mexique dans un espace textuel où s’entremêlent réalité historique et fiction romanesque. Dans un deuxième temps, nous explorons la fabrique du texte poniatowskien à travers les procédés scripturaux basés sur le collage de fragments de discours hétérogènes. Nous soulignons l’originalité d’une écriture qui, à la manière d’une mosaïque, imbrique les écrits des protagonistes, des extraits des propres oeuvres de l’auteure et de celles d’autres écrivains, auxquels s’ajoutent des références intermédiales qui transforment l’acte de lecture en exploration des relations entre différents médiums. Par ailleurs, l’approche résolument polyphonique des romans engage un dialogue entre les voix et les textes, offrant un regard global sur la femme artiste au XXème siècle. Enfin, la troisième partie s’attache à mettre en évidence la fabrique des personnages féminins. Les romans ancrent les trajectoires et les choix des trois femmes dans une société androcentrée tout en mettant en évidence l’incidence des personnages masculins dans leur construction transgressive. Les textes (re)présentent des regards sur les milieux traditionnellement hostiles à la femme et sur les parcours de sujets exceptionnels dans l’histoire artistique mexicaine
From a corpus composed of three novels by Elena Poniatowska, Querido Diego, te abraza Quiela (1978), Tinísima (1992), Leonora (2011), we are exploring the main characteristics of Poniatowskia’s fiction writing that puts women at the centre of her narrative world. Our study highlights the generic hybridity of these three works from the study of the book as an object, and then from the analysis of thresholds. We are showing that the writer recreates the lives and works of three foreign artists exiled in Mexico, in a text space where historical reality and novelistic fiction entangle. Then in a second time, we are exploring Poniatowska’s making of the text through the writing process based on sticking heterogeneous pieces of speech together. We are emphasizing the originality of her writing, for in the way of a mosaic, she links the protagonists’ writings, some excerpts from the author’s own works and from other writers, as well as intermedial references, that transforms the act of reading into an act of exploring relationships between different media. Besides, the resolutely polyphonic approach of the novels starts a dialogue between the voices and the texts, showing a global view on women artists in the 20th century. Finally, the third part aims at underlining the making of the female characters. The novels root the three women’s paths and choices in an androcentric society, and at the same time highlight the effects of the male characters on their transgressive developments. The texts (re)present views on traditionally hostile circles to women, and on the journeys of exceptional individuals in Mexico’s artistic history

Part One deals with Carrington's association with the Surrealist movement and looks at her texts as dreams/nightmares. Born in 1917, Carrington arrived in Paris just before her twentieth birthday. The opening chapter deals chiefly with biographical material and creates a context for Carrington's writing within the Surrealist movement. Chapters Two and Three explore Carrington's main stories of this period, examining the stylistic devices that make them dream-texts. Part Two deals with the major crisis in Carrington's life and writing: her internment in a Spanish asylum. Chapter Four looks at the biographical events that led Carrington to be interned and suggests that her father and his associations with Imperial Chemical Industries had more to do with her internment than is commonly believed (Appendix I includes a transcript of my interview with her Spanish doctor and testifies to contacts with ICI). Chapter Five analyses the "mad" narrative "Down Below", where the repression of Carrington's "playing with language" is exposed through an impressive imagery of death. Chapter Six explores the stories written in New York immediately after release: "Cast Down By Sadness", "White Rabbits", "Waiting", "The Seventh Horse" and "As They Rode Along the Edge". The grotesque female bodies and the pervasiveness of the monstrous distinguish these stories as Carrington's chaotic, "creative" resurrection. Finally Part Three looks at Carrington's Mexican period, where her writing achieves a voice that, although resonant of previous moments, stops being tragic and becomes revolutionarily comic. Chapter Seven follows Carrington's life in Mexico, where she still lives, from 1942 to the present. Chapter Eight deals with four of her best Mexican writings: the novel The Stone Door, the play The Invention of the Mole, the short story "The Happy Corpse Story" and an unpublished letter to Remedios Varo (1958) included in Appendix II. Finally Chapter Nine deals at length with The Hearing Trumpet.

碩士
國立成功大學
藝術研究所
93
This paper mainly discusses paintings of the English Surrealist painter Leonora Carrington. Carrington’s art is famous for the tendency of the occult, and her reputation is based on the restoration of Goddess worship. Her paintings reveal a fusion of the matriarchy myth and hermeticism, and magically revive the old matriarchies. This paper will focus on Carrington’s horse paintings in early period, images of Goddess worship in middle period and her crone paintings in the later stage. I will try to deduce that Carrington’s art successfully lives up to Goddess worship religion. Meanwhile, I will also provide Carrington’s autobiographic evidences as supplement to interpret her paintings. From the perspective of feminism, I will set up the importance of Carrington in art history by analyzing visual images by her and demonstrate her contributions to the human world. In analyzing the transformation of the Goddess images in her early, middle and later stage, this paper will highlight Carrington’s extraordinary achievements of subverting the patriarchy in three strategies: the masquerade, the Goddess worship, and the crone image. In using these three tactics, Carrington finally collapses the construction of the patriarchy and attains the restoration of matriarchy in her marvelous surrealist paintings.

碩士
臺北市立教育大學
視覺藝術研究所
95
This thesis is aimed to explore the mysterious images which was created by two female Surrealist artists, Leonora Carrington and Remedios Varo. Leonora Carrington and Remedios Varo develop a school of themselves in man's leading surrealism. Their works are full of reactions against patriarchy system, and represent the aspiration of seeking the subjects of women. This thesis is trying to use iconology, Feminism and analytic psychology to analyse the images of the two female Surrealist artists. It is expected to find out the meaning and compatibility of the pictures from three parts : the early works in surrealism, the alchemy works in Mexico, and the transition works. Leonora Carrington and Remedios Varo who get rid of the constraint in the patriarchy system and develop the self- life pictures. We can experience further from the paintings which the two artists' soul shift, the insist and the identification with themselves.

碩士
國立彰化師範大學
美術學系
100
My paper mainly discusses the paintings of Leonora Carrington, an England Surrealistic artist. The hybrids about animals, plants, and human beings have been playing an important role in Carrington’s paintings. With imagination, Carrington created hybrid creatures which have become a great tool for her to subvert the traditional patriarchal world and establish the motherhood world of the worship of the goddess. I start my paper from Carrington’s early paintings, the hybrid creatures of horses. From the artist’s family background, family relationships, the disputes with Ernest, stimulated by the war, assimilate different cultures in Mexico, the status of a mother, and the processes of becoming old, I try to investigate how she showed the appearances and the symbolic meanings of her works in different stages. I will explore her works with the images of the hybrid creatures and demonstrate how she used various species mixture to pass her feminist consciousness. Carrington created her world of goddess and focused on the relationships between people and nature. Her works show the unity and harmony of all things.

This dissertation explores the presence and meaning of astronomical elements in the creative work of Surrealist artists and writers who were involved with the movement from the 1920s to the 1940s. Set against a backdrop of widespread popular interest in astronomy in France during these decades and those directly preceding them, Surrealists such as André Breton, Joan Miró, Max Ernst, Wolfgang Paalen, Oscar Domínguez, Matta, Remedios Varo, Leonora Carrington, and Kurt Seligmann all addressed cosmic themes in their artistic production. This dissertation identifies and analyzes their varied engagement with such themes, including their presence in the related areas of astrology and the Tarot. The heavens offered the Surrealists a rich terrain for invention—one that could be seen as scientific or occult, fanciful or factual, as well as ancient or up-to-date. In their quest to access previously unknown realms of reality, the Surrealists found in the little-explored and often strange territory of outer space a new realm for creative invention. As such, these artists and writers projected their surreal visions onto the universe in their continued search for the marvelous.
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