附註:Includes bibliographical references (pages 275-298) and index.
1. A Synoptic History of Surrealism -- 2. Surrealism as Cultural Autoeroticism -- 3. Tropes of Autoeroticism. 3.1. Surrealism's History of the Mind. 3.2. The Psychic Grab-Bag. 3.3. Freudian Glosses. 3.4. Rereading Freud and Reading re Freud. 3.5. Meta-Collages of Some Other Mental Illnesses -- 4. Tropes of Perversion. 4.1. Literary Origins of Surrealist Misogyny. 4.2. Automatism as Secretarial Science. 4.3. Nietzsche. 4.4. Baudelaire. 4.5. From Hoffmann to Freud. 4.6. Sade and the Sadeian Personality. 4.7. Lautreamont -- 5. Tropes of Novelty. 5.1. Tradition and the Ineffable States. 5.2. Irreligion: Anti-clericalism and the Black Mass. 5.3. Sacrifice and Sade: Bataille's Contribution. 5.4. Agriculture and Earth-Mothers. 5.5. Alchemy and Androgynes -- 6. Men's Woman, Women's Woman. 6.1. "Our Polished Members" 6.2. An Hysterical Interlude. 6.3. "A Ribbon Around a Bomb" 7. Conclusion.
摘要:Surrealism was ostensibly directed at the emancipation of the human spirit, but it represented only male aspirations and fantasies until a number of women artists began to redefine its agenda in the later 1930s. This book addresses the former, using a "thick description" of the historically specific circumstances which required the male Surrealists to manufacture a sexual reputation of narcissism and misogyny. These circumstances were determined by "hegemonic masculinity," an ideological construct which had little to do with individual masculinities. In male Surrealism, the "beribboned bomb" signified something both attractive and volatile, a specific instance of the Surrealist principle of convulsive beauty. In hegemonic masculinity, similar devices served as metaphors of the sexuality all men were supposed to possess. The intersection of these two axes produced an imagery of unrepentant violence.
