The Northern Monarchy as Seen by Dada Some Contributions of Dadaism to the Exploration of Alternative Histories
Article Sidebar
Main Article Content
Abstract
How can the Dada movement be a source of inspiration for the construction of alternative histories, and for the Winepunk project in particular? This article, by sketching a seemingly improbable parallel between Dadaism and the Northern Monarchy, attempts to draw lessons from this major but sometimes forgotten artistic avant-garde of the 20th century, for the creation of alternate histories in a contemporary approach of creation-research. To do this, we will begin by reviewing the history of Dadaism, highlighting the links it can forge with the Northern Monarchy: a coincidence in terms of dates, a multinational commonality, and a moment eclipsed from memories in both cases. In a second step, we will explore more generally the potential contributions of Dadaism to the construction of alternative histories, from both a heuristic and artistic point of view: the fanzine aesthetic and the creative tools it offers, the enigmas it leaves open for the invention of uchronies, as well as the inspiring functioning it offers to contemporary writing communities.
Downloads
Article Details
Section
This work is licensed under a Creative Commons Attribution 4.0 International License.
This is an open-access journal under the CC-BY license
How to Cite
References
[1] Breuil, Eddie, 2009. Guillermo de Torre. Ultra-Dada entre deux avant-gardes. Les Presses du réel.
[2] Breunig, Tiago Hermano, 2017. « Musicalidade na poesia moderna : uma zona de indiscernabilidade ». Sao Paulo : Via Atlântica, n°32.
[3] Sanouillet, Michel, 2005 (1979). Dada à Paris. Paris : CNRS éditions.
[4] Kaitaro, Timo, 2011. « Irresponsabilité dadaïste et surréaliste », Dada and Beyond, volume 1. Avant-Garde Critical Studies (édition Elza Adamowicz et Eric Robertson), vol. 26.
[5] Fourny, Jean-François, 1986. « “Un jour ou l’autre on saura” : de Dada au surréalisme ». Revue d’histoire littéraire de la France, 86ème année, n°5. Presses Universitaires de France.
[6] Spettel, Elisabeth, 2015. « Double jeu de la subversion : entre dadaïsme, surréalisme et art contemporain », doctoral thesis in Arts defended at the University of Bordeaux Montaigne, under the supervision of Pierre Sauvanet and Miguel Egaña. Published online at theses.fr.
[7] Etienne, Samuel, 2019 (2011). « Le fanzine DIY comme élément de structuration des réseaux punk », in Paul Edwards (dir.), Elodie Grossi (dir.) et Paul Schor (dir.), Disorder. Histoire sociale des mouvements punk et post-punk. Guichen : Editions Mélanie Seteun.
[8] Collectif, 2024. Journal Acazine, Volume 4, edited by Samuel Etienne and Catherine Schwartz, on the occasion of the first workshop of the HYP project – Hypothesis You Preserve, in Pontevedra, Galicia, Spain, September 17-18, 2024. Online: https://hal.science/hal-05046293/document
[9] Marcus, Greil, 2018 (1989). Lipstick Traces. Une histoire secrète du XX° siècle (translation Guillaume Godard). Editions Allia.
[10] Padis, Marc-Olivier, 2001. « Comment recycler Debord dans les magazines », Esprit, n° 279.
[11] De Kergariou, Caroline, 2017. « Le punk a-t-il des précurseurs? », chapter of No Future. Une histoire du punk. Editions Perrin.
[12] David, Sylvain, 2018. « Son cœur ambre et punk », Parade sauvage. Revue d’études rimbaldiennes, n°29.
[13] Dachy, Marc, 2005. Dada : La révolte de l’art. Découvertes Gallimard.
[14] Dachy, Marc, 2011 (1994). Dada et les dadaïsmes. Rapport sur l’anéantissement de l’ancienne beauté. Folio, Gallimard.
[15] Sudhalter, Adrian (dir.), 2016. Dadaglobe Reconstructed. Zurich : Sheidegger und Spiess AG, Verlag.
[16] Sawelson-Gorse, Naomi (dir.), 1998. Women in Dada : Essays on Sex, Gender and Identity. Cambridge, Massachussetts : The MIT Press.
[17] Aragon, Louis, 1981 (1969). Je n’ai jamais appris à écrire ou Les Incipits. Champs Flammarion.
[18] Bourdieu, Pierre, 1979. La distinction. Critique sociale du jugement. Les éditions de Minuit.