2
10
18
-
Dublin Core
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Title
A name given to the resource
Making Connections
Description
An account of the resource
This collection links what would be considered "art" with the novels we read in this class. Some of the "art" includes paintings, film, and poetry.
Contributor
An entity responsible for making contributions to the resource
Andréa Rivard
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
oil on canvas
Physical Dimensions
The actual physical size of the original image.
77.5 x 98.1 cm
Dublin Core
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Title
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The Wonders of Nature (Les Merveilles de la nature), 1953
Subject
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The Wonders of Nature (<a title="Wonders of Nature" href="http://moreart4all.files.wordpress.com/2011/08/05-rene-magratte-mca.jpg">Les Merveilles de la nature</a>), 1953
Description
An account of the resource
This painting by Magritte, who is one of the most well-known and influential surrealists, deals with body image and identity. As we are connecting novels to higher art forms, this particular piece made me think of <em>Orlando</em> by Virginia Woolf. One cannot actually tell if the fish people are male or female, though it is likely there is one male and one female, but regardless of this, they appear to be in love. <em>Orlando</em> deals with the importance of gender in being a part of the human experience, so these two seemed very linked.
Creator
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René Magritte
Date
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1953
Rights
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Museum of Contemporary Art, Chicago: Gifted by Joseph and Jory Shapiro, 1982
Format
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Oil on canvas
body image
identity
Orlando
Surrealism
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Making Connections
Description
An account of the resource
This collection links what would be considered "art" with the novels we read in this class. Some of the "art" includes paintings, film, and poetry.
Contributor
An entity responsible for making contributions to the resource
Andréa Rivard
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
oil on canvas
Dublin Core
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Title
A name given to the resource
Sheherazade, 1950
Subject
The topic of the resource
<a title="Sheherazade, 1950" href="http://www.mattesonart.com/Data/Sites/1/magritte/Sheherazade%201950.jpg">Sheherazade</a>, 1950
Description
An account of the resource
<p>Of the novels we read from the 20th Century in Europe, the most surrealist of them was <em>Wide Sargasso Sea</em> by Jean Rhys. This painting of Magritte's reminded me of the book because of how fragmented an identity can become. First, Annette is a piece of her mother, then a piece of the convent in which she resides, then a piece of her marriage, then a piece of Rochester's English manor. Annette, though telling her story through the words of Rhys, is constantly in fragments of her own identity. She is always missing something that makes her uniquely herself. </p>
<p>Annette's mother was known for her undying beauty, which is also something addressed in Magritte's painting. Just as Annette was reduced to being a piece of something else, so was her mother. Her mother was only able to be viewed as an object, like this painting of Magritte's implies, which makes Annette's identity even mroe fragmented.</p>
Creator
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René Magritte
Source
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http://www.mattesonart.com/Data/Sites/1/magritte/Sheherazade%201950.jpg
Publisher
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Matteson Art
Date
A point or period of time associated with an event in the lifecycle of the resource
1950
Format
The file format, physical medium, or dimensions of the resource
oil on canvas
identity
Surrealism
Wide Sargasso Sea
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
800
Width
1005
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Making Connections
Description
An account of the resource
This collection links what would be considered "art" with the novels we read in this class. Some of the "art" includes paintings, film, and poetry.
Contributor
An entity responsible for making contributions to the resource
Andréa Rivard
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
oil on canvas
Physical Dimensions
The actual physical size of the original image.
81cm x 100cm
Dublin Core
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Title
A name given to the resource
<p>Giaconda, 1953</p>
Subject
The topic of the resource
<a title="Giaconda" href="http://www.mattesonart.com/Data/Sites/1/magritte/Giaconda%201953.jpg">Giaconda</a>, 1953
Description
An account of the resource
<p>Maybe you can guess, but the instant I saw this image, I thought of George Orwell's <em>Coming Up for Air</em>. While Orwell's novel actually came first, this painting shows the mundane life that George, the protagonist, was speaking of. The men in bowler hats could even be insurance salesmen. This image had to be added to show the relationship between art and writing going the other direction. Orwell predicted this painting, in a way.</p>
<p>Here's some more about <a title="Magritte" href="http://www.mattesonart.com/1949-1960-mature-period.aspx">René Magritte</a>, the painter of Giaconda, and one of the most influential surrealists of the 20th Century.</p>
Creator
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René Magritte
Source
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Matteson Art
Date
A point or period of time associated with an event in the lifecycle of the resource
1953
Rights
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Menil Collection, Houston, TX
Format
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oil on canvas
It'sRainingMen
René Magritte
Surrealism
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Making Connections
Description
An account of the resource
This collection links what would be considered "art" with the novels we read in this class. Some of the "art" includes paintings, film, and poetry.
Contributor
An entity responsible for making contributions to the resource
Andréa Rivard
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
film
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
16 minutes
Producer
Name (or names) of the person who produced the video.
Luis Buñuel
Director
Name (or names) of the person who produced the video.
Luis Buñuel
Dublin Core
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Title
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Un Chien Andalou (Andalusian Dog)
Subject
The topic of the resource
<a title="Un Chien Andalou" href="http://vimeo.com/18540575">Un Chien Andalou</a> (Andalusian Dog)
Description
An account of the resource
This is a film written by Salvador Dali, a Catalan surrealist. I'm not going to attempt to explain what is going on in the <a title="IMDB's interpretation" href="http://www.imdb.com/title/tt0020530/fullcredits?ref_=tt_ov_st_sm">film</a>, as surrealism is left open to interpretation intentionally. To continue the theme here, though, this film relates to many of the books we read in this class because of the way it looks at the inner workings of the self. Most specifically, we can put this film next to Jean Rhys's <em>Wide Sargasso Sea</em>. Rhys's project in writing <em>Wide Sargasso Sea</em> was to give voice to the crazy lady in the attic, which meant that we as readers got to watch the slow descent into insanity from inside her mind. However, we are still, by virture of being readers of an interpretation of a person's mind, on the outside. The same can be said for Dali's film. For all we know, Dali was showing a slow descent into insanity by following the inner workings of this man's mind, but we are on the outside, and therefore understand nothing of the sort. This item had to be included in this timeline of surrealism to show that the concept of surrealism did not change throughout the movement, and that the statement surrealists made through visual art can also be seen in novels and other writings.
Creator
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Luis Buñuel, Salvador Dali
Source
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viveo.com
Publisher
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viveo.com
Date
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This film was originally released in 1929
Format
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film
Language
A language of the resource
silent, French
Type
The nature or genre of the resource
horror, surrealism, art
film
horror
Salvador Dali
Surrealism
Wide Sargasso Sea
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914c003a42fe438b426cbdda8be8d690
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Women and Surrealism
Description
An account of the resource
The voices of feminism in the surrealist movement
Contributor
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Emma Fleming
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
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Title
A name given to the resource
Androgyny, Interview with Meret Oppenheim
Subject
The topic of the resource
An interview with surrealist Meret Oppenheim
Description
An account of the resource
The author and Oppenheim discuss her views on the role of dreams and women in the Surrealist movement.
Creator
An entity primarily responsible for making the resource
Robert J. Belton
Source
A related resource from which the described resource is derived
Dada/Surrealism
No. 18 Surrealism and Women
Publisher
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The University of Iowa
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Language
A language of the resource
English
Type
The nature or genre of the resource
Journal
-
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1d1e1d3614117e4bf16f55c70c2b011f
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
1
Channels
3
Height
633
Width
440
Dublin Core
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Title
A name given to the resource
What a wonderland
Subject
The topic of the resource
A connection to Jean Rhys
Description
An account of the resource
Not only her story but also her life, Jena Rhys never found her way out of the rabbit hole. Did she know she was living in the dream state of wonderland, a place where nothing makes sense?
It seems someone read Rhys Carroll's book at a young age and she never grew out of it.
Dublin Core
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Title
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What a Wonderland
Description
An account of the resource
Drawing a connection to Lewis Carroll's novel Alice's Adventures in Wonderland and Jean Rhys' Novel Wide Sargasso Sea
Contributor
An entity responsible for making contributions to the resource
Emma Fleming
Crystol May
Andrea Rivard
Website
A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ).
Local URL
The URL of the local directory containing all assets of the website.
<a title="7 Adaptations of" href="http://www.buzzfeed.com/louispeitzman/adaptations-of-alices-adventures-in-wonderland">Buzz feed entertainment </a>
<a title="Lewis Carroll's novel" href="http://www.literature.org/authors/carroll-lewis/alices-adventures-in-wonderland/"><em>Alices Adventuers in Wonderland</em> </a>Project Gutenberg
<a title="a life like alices" href="http://www.independent.co.uk/arts-entertainment/books/features/jean-rhys-prostitution-alcoholism-and-the-mad-woman-in-the-attic-1676252.html">Jean Rhys: Prostitution, alcoholism and the mad woman in the attic</a>
<a title="I'd rather be happy than Right" href="http://www.youtube.com/watch?v=UN_6xJJNphY">Jean Rhys Interview</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Is there a connection?
Subject
The topic of the resource
<p>Lewis Carroll's <em>Alice's Adventures in wonderland</em> was a work that might have eaisly slipped into the cultural movement of surrealism if not way ahead of his time. The dream state created, to reflect the political times, fits the understanding of what the cultural movement was about. Carroll's imaginary land could not be viewed for it's importance in its time because of the political environment. It would have been a hit during the Surrealist cultural movement because Carroll would have been allowed to present this idea with a different understanding.</p>
<p>Jean Rhys has also created a work that falls after the the Surrealist movement. <em>Wide Sargasso Sea </em>hold many of the same characteristics of Carroll's childrens novel. When placing the novels story line into a side by side viewing many similarities can be detected in the use of colors, the characters constant feeling of being in a dream state, the reflective nature of the political turmoil and social roles of individuals with in the story. </p>
Description
An account of the resource
"17 Adaptations Of "Alice’s Adventures In Wonderland" Through The Years" is a reflective view of the many ways that Lewis Carroll's original novel has been adapted to film and movies over the last
Creator
An entity primarily responsible for making the resource
Louis Peitzman
Source
A related resource from which the described resource is derived
<a title="17 Adaptation of Alice's Adventures in wonderland" href="http://www.buzzfeed.com/louispeitzman/adaptations-of-alices-adventures-in-wonderland">Buzz Feed Entertainment</a>
Publisher
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Buzz Feed Entertainment
Date
A point or period of time associated with an event in the lifecycle of the resource
Posted October 10th, 2013
Contributor
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<p>Buzz Feed</p>
<p>Gutenberg collection</p>
<p><em>The Independent</em></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Making Connections
Description
An account of the resource
This collection links what would be considered "art" with the novels we read in this class. Some of the "art" includes paintings, film, and poetry.
Contributor
An entity responsible for making contributions to the resource
Andréa Rivard
Sound
A resource whose content is primarily intended to be rendered as audio.
Transcription
Any written text transcribed from a sound.
LESSONS OF THE WAR
To Alan Michell
Vixi duellis nuper idoneus
Et militavi non sine gloria
I. NAMING OF PARTS
To-day we have naming of parts. Yesterday,
We had daily cleaning. And to-morrow morning,
We shall have what to do after firing. But to-day,
To-day we have naming of parts. Japonica
Glistens like coral in all of the neighboring gardens,
And to-day we have naming of parts.
This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see,
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
Which in our case we have not got.
This is the safety-catch, which is always released
With an easy flick of the thumb. And please do not let me
See anyone using his finger. You can do it quite easy
If you have any strength in your thumb. The blossoms
Are fragile and motionless, never letting anyone see
Any of them using their finger.
And this you can see is the bolt. The purpose of this
Is to open the breech, as you see. We can slide it
Rapidly backwards and forwards: we call this
Easing the spring. And rapidly backwards and forwards
The early bees are assaulting and fumbling the flowers:
They call it easing the Spring.
They call it easing the Spring: it is perfectly easy
If you have any strength in your thumb: like the bolt,
And the breech, and the cocking-piece, and the point of balance,
Which in our case we have not got; and the almond-blossom
Silent in all of the gardens and the bees going backwards and forwards,
For to-day we have naming of parts.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
printed poem, then read aloud
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2 minutes
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lessons of War: <a title="Naming of Parts" href="http://www.solearabiantree.net/namingofparts/namingofparts.html" target="_blank">Naming of Parts</a>
Subject
The topic of the resource
War, specifically World War II, mixed with the feelings of being a young man.
Description
An account of the resource
<p>Henry Reed is a poet with whom the Birmingham Surrealists associated. He's best known for the series he wrote <em>Lessons of War</em>, but most specifically for Part 1: "Naming of Parts." "Naming of Parts" is an excellent link between surrealism as an art movement and the topic of war that was so prevelant in Europe during the first half of the 20th century. Although "Naming of Parts" is about WWII, I saw a connection between this poem and Rebecca West's <em>Return of the Soldier</em> because of the routine it implied. The women in West's novel live routine lives while they wait for their soldier to return, just as this soldier learns to use his weapon. </p>
<p>Part of what allows this poem to fit into the idea of surrealism is that it sounds like a villanelle, but that format is actually much stricter than the one that Reed's poem follows. Apart from form, this poem also echos some of the key thematic elements of the surrealist movement.</p>
Creator
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Henry Reed
Source
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http://www.solearabiantree.net/namingofparts/namingofparts.html
Publisher
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This poem can be found in Reed's <em>Collected Poems,</em> which was published most recently in 1991 by Jon Stallworthy,<em> </em>but for the purposes of this project, the publisher is www.solearabiantree.net.
Date
A point or period of time associated with an event in the lifecycle of the resource
May 2013
Format
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web document, audio recording
Language
A language of the resource
English
Henry Reed
Poetry
Surrealism
WWII
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62568c11c99f16e1907763e52a2555d4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Historical impact of Surrealism on Literature
Description
An account of the resource
A preresentation of the way surrealism has impacted art form in the ninteenth-century
Contributor
An entity responsible for making contributions to the resource
Emma Fleeming
Crystol May
Andrea Rivard
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Text
Any textual data included in the document.
<a title="Literary period timeline" href="http://www.online-literature.com/periods/timeline.php">Literary Period Time Line</a>
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
English translation from the first <a title="English translation of the first Surrealist Manifesto" href="http://www.tcf.ua.edu/Classes/Jbutler/T340/F98/SurrealistManifesto.htm"><em>Surrealist manifesto</em></a>
<a href="http://gsalibrarytreasures.wordpress.com/2013/08/27/surrealist-manifesto/">Surrealist Manfesito</a>
Dublin Core
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Title
A name given to the resource
The Surrealist Manifesto
Subject
The topic of the resource
The first <em>Manifesto of Surrealist</em> by Andre Breton
Description
An account of the resource
This writen manifesto gave a light definition and goal to the philosophical idea of surrealism.
The manifesto tries to explain the need for surrealism and why it has become (again) a way of thinking.
Andre Breton wanted to give a purpose to the importance of bringing to light superstition and myth because they are as valuable in defining truths as science.
Creator
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Written by :Andre Breton Translation from: Patrick Waldberg, book titled <em>Surrealism,</em> (New York: McGraw-Hil, 1971), pp. 66-75
Source
A related resource from which the described resource is derived
<p>University of Alabama</p>
<p>College of Communications and Informations Sciences</p>
Publisher
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University of Alabama
Date
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<p> First published in 1924, re-published five years later in 1929. Found online through the University of Alabama</p>
Contributor
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Crystol May, University of Alabama, GSA Library treasures
Relation
A related resource
<a title="University of Alabama" href="http://tcf.ua.edu/">University of Alabama</a>, <a title="GSA Library Treasures" href="http://gsalibrarytreasures.wordpress.com/2013/08/27/surrealist-manifesto/">GSA Library Treasures</a>
Format
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htm
Language
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original language: French
Translation: English
Type
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Manifesto
Coverage
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the Surrealist Cultural Movement
Andre Breton
Manifesto
response
Surrealism
WWI