The imprint of the image, the traces of the word
DOI:
https://doi.org/10.32112/2174.2464.2018.226Keywords:
André Breton, Nadja, Fotografía, Imagen, Surrealims, Photography, Text, SurrealismAbstract
In this paper, we analyse André Breton’s novel Nadja (1928, 1962) from an analytic perspective which conceives the novel as a verge dislocating the image (material and palpable) and the text (the word and the written). At this point, the experimentation comes through literature and its manifestations, drawing some corporal, psychological and city territories. Surrealism proposes a fundamental change on the literary epistemology that works with the visual, perceptive and chromatic aspects. In this sense, Surrealism and its manifestations are focused for it interest on observation and on renovation of aesthetical forms of creation, proposing experimentations with words plasticity and image textuality.
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