Tikro, programinio, siurrealizmo Lietuvoje nebuvo tarpukariu, t. y. istorinio siurrealizmo laikais, nebuvo jo ir XX a. II pusėje. Negalime kalbėti apie siurrealizmą Lietuvoje, tačiau neabejotina, kad siurrealumo apraiškų yra mūsų XX a. II pusės dailėje. Šiame darbe terminas siurrealumas naudojamas kaip estetinė kategorija, nurodanti sąsajas su kai kuriais siurrealizmo, kaip modernizmo judėjimo, bruožais, vaizdo kūrimo principais. Disertacijoje svarbi sąvokų siurrealumas ir siurrealistiškumas skirtis: pirmasis terminas nebūtinai susijęs su istoriniu siurrealizmu. Pirmiausia mėginama išgryninti aktualius XX a. II pusės Lietuvos dailei siurrealumo bruožus, išnagrinėti siurrealumo bruožų turinčią lietuvių dailininkų kūrybą kaip savitą meninį reiškinį. Siurrealūs kūriniai dažnai priklauso XX a. antrosios pusės Lietuvos dailės istorijos „paraštėms“, jos mažajam naratyvui, ir gali būti traktuojami kaip dalinė opozicija didžiajam, kanoniniam naratyvui, ekspresionistinės krypties dominavimui. Nors siurrealumo apraiškos Lietuvos dailėje nesuformavo savarankiškos dailės krypties, siekta XX a. antrosios pusės pagrindinį Lietuvos dailės istorijos naratyvą papildyti mažuoju siurrealumo naratyvu. / There was no real, programmatic Surrealism in Lithuania between the two wars, when the historical Surrealist movement was at its peak; nor was there any influence of Surrealism here in the second half of the twentieth century. In this work the term the surreal is used as an aesthetic category pointing to the links with some of the features of Surrealism as a modernist movement and its principles of image creation. The divide between the concepts of the surreal and the surrealist aspect is important in this dissertation: the former term is not necessarily related to historical Surrealism. In this dissertation an attempt is made to crystallize the features of the surreal which were topical for Lithuanian art in the second half of the twentieth century. The thesis aims to single out the concept of the surreal and develop its content; to examine the artwork of Lithuanian painters that contains the features of the surreal as an original artistic phenomenon. Surreal artwork belongs to the 'margins' and 'the small narrative' of Lithuanian art in the second half of the twentieth century, and can be treated as a partial opposition to the big canonical narrative and the predominance of the expressionist trend. Although the manifestations of the surreal in Lithuanian art did not shape an independent trend in art, an attempt has been made to expand the main narrative of the Lithuanian art of the second half of the twentieth century with the a small narrative of the surreal.

Made available in DSpace on 2016-04-27T19:31:50Z (GMT). No. of bitstreams: 1 Thiago Masano Cavaloti.pdf: 424599 bytes, checksum: 5efdc653f1edefead2267ce0b62e6d1e (MD5) Previous issue date: 2008-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of the following essay is to analyze the notion of magnetic fields between dream and reality, portrayed in the Surealism Manifesto of 1924 by Andre Breton (1896-1966), throughout inquiries on the theory of the unconscious of Sigmung Freud and the French modern poetic experience present in Charles Baudelaire (1821-1867), Arthur Rimbaud (1854-1891) e Paul Valéry (1871-1945). This careful reading of the propositions of André Breton s Manifesto lies upon the concept of surreality , restoring the author´s poetic-aesthetic notions in light of the experience of the First World War (1914-1918) / A presente dissertação visa analisar a noção de campos magnéticos entre sonho e realidade, a surrealidade , expressa por André Breton (1896-1966) no Manifesto do Surrealismo de 1924, através das indagações da teoria do inconsciente de Sigmund Freud e da experiência poética moderna francesa presente em Charles Baudelaire (1821-1867), Arthur Rimbaud (1854-1891) e Paul Valéry (1871-1945). A leitura atenta sobre as proposições de André Breton neste Manifesto debruça-se sobre o conceito de surrealidade , resgatando as noções estético-poéticas do escritor francês à experiência vivida durante a primeira guerra mundial (1914-1918)

L'amorce repose sur une contradiction quasi-résorbée : Les ludique et absurde négligés par la littérature, s'imposent au XXe siècle, comme composants utiles à une manifestation intellectuelle plus en phase avec la pensée humaine contemporaine. L'analyse littéraire repose sur l'observation d'aptitudes que manifestent les notions de ludique et d'absurde pour s'adapter aux contraintes inhérentes aux écritures romanesques, théâtrales et poétiques, aujourd'hui. Pour définir les compétences accrues d'un message littéraire en contexte ludique et/ou absurde, la première partie est une relecture ciblée d'auteurs que la critique ne classe pas dans un registre ludico-absurde. La seconde précise et illustre la nature de ces nouvelles compétences, par l'étude d'expérimentations de R. Devos et R. Queneau, dont les rhétoriques ludico-absurdes renvoient à une surréalité toujours populaire car déjà intellectuellement intégré par le récepteur. La dernière aborde la dimension socioculturelle de la littérature, témoin-artisan d'une pensée collective férue de valeurs ludico-absurdes, et qui après s'être souvent fait le chantre de la philosophie de l'absurde, esquisse de l'individu, sa nouvelle manière d'être au monde. / The absurd along with that of the “ludic” can no longer be confirmed to the domain of literary prose, but are in fact essential elements to twentieth-century intellectual thought at large. The literary fundamentals are based on the observation of the capacity of the absurd and the “ludic” to adapt to inherent constraints of the novelistic, theatrical and poetic. Our first section argue for a re-evaluation of that message focusing on specific writers that critics thus far have failed to appreciate as part of a distinctive “ludico-absurd” form. The second section focus on this emerging capacity based on studies of the work of R. Devos and R. Queneau, whose “ludico-absurd” rhetoric holds in common a surrealism. It remains popular as audiences are ever sensitive to the message of the “ludico-absurd”, while the latters having integrated it intellectually. The third section focus on the socio-cultural dimensions of the literature, concentrating on the position of the artist as well as that of the beholder. Ultimately, this paper look at the way in which the philosophy of the Absurd continue to elaborate and indeed herald a new relationship between the individual and the contemporary world.