'Outsiders and Impersonators': a critical and creative exploration of the surrealist fiction of Leonora Carrington, Ithell Colquhoun and Unica Zurn

这项研究包括两个相互关联的元素：一篇批评性论文，探索上述作家的作品是如何以独特的方式提供关于其经典和哲学的新见解；以及一部实验小说，将通过基于实践的调查来扩展这些洞察力。小说将提供机会，进行批评性调查提出的正式实验，并产生洞察力，这些洞察力在没有这个实践测试的情况下仍然是思辨的。结果将是对超现实主义领域的研究的原创性贡献，以及一部作为人工事实和反身性证据的实验小说；出现在批评性阅读和写作的综合中。文化语境：女性在超现实主义开始时被边缘化，但参与了早期的实验。他们作为“精神电”的指挥者或作为“缪斯女神”的“指定”角色都有很好的记载。然而，在20世纪20年代的两份超现实主义宣言中，只有一位女性签名。III《局外人》表明，国际公认的自学成才艺术类别IV似乎可以作为一个术语来解释这个项目的要素。尽管这三位女性的作品经常被描述为绝对现实主义者，但它往往与超现实主义宣言中提出的创造力概念不符。拟议的批判性调查将质疑对超现实主义的传统理解，并质疑这些女作家是否最好被理解为超现实主义者，或者她们是否呼吁颠覆批评传统，从而重新审视她们在经典中的地位。研究背景：对超现实主义女性小说的批评相对有限。凯瑟琳·康利的作品(2008)代表了最重要和一致的焦点，分析了超现实主义女性的写作与平行男性的对等关系(通常是由布雷顿和索波尔所著)，并倾向于重新设想女性的自我概念。其他地方的许多讨论都在批评超现实主义项目中隐含的厌女症。虽然这是一项基本的工作，但到目前为止，很少有人考虑到这些女性学者如何根据自己的优点为创作过程提供新的见解，并代表文学和艺术分类之外的真正新鲜的材料。方法：这部小说将通过对小说的分析过程中的发现来塑造，并将条件反射地提炼出一套以前不存在的与超现实主义相关的技术思想。在我对所选文本的批判性分析中，将追溯以下策略：-作为自传体折射的小说-在文本中对人物的字面掩饰-伪装的旅行-反拟人化的表现-神话的重新塑造-体裁原型的模仿-对超现实主义项目本身的模仿

This research comprises two interrelated elements: a critical thesis exploring the distinctive ways inwhich the above writers' work, situated as an 'outsider' version of Surrealismi, offers new insights regardingits canon and philosophy; and an experimental novel which will extend these insights via practice-based investigation.The fiction will provide opportunities to conduct formal experiments suggested by the critical enquiry andgenerate insights which would remain speculative without this praxical testing ground.The outcomes will be an original contribution to research in the field of Surrealism and an experimentalfiction functioning as artefact and reflexive evidence; emerging out of the synthesis of critical readingand writing.Cultural Context:Women were marginalised at the inception of Surrealism but participated in its early experiments. Their'assigned' role as conductors of 'mental electricity'ii or as 'muses' is well documented. Yet there is onlyone female signature on either of the two Surrealist Manifestos of the 1920's.iii'Outsider', denoting that 'internationally recognised category of self-taught art'iv, seems useful as a termto account for elements of this project. Though the work of the three women is frequently described assurrealist, it often doesn't fit comfortably with notions of creativity set out in surrealism's manifestos.The proposed critical investigation will interrogate conventional understandings of Surrealism, and willquestion whether these women writers are best understood as surrealists, or whether they call for a destabilisingof critical conventions, hence a re-framing of how they are situated in the canon.Research Context:Criticism of the fiction of surrealist women is relatively limited. Katherine Conley's work (2008) representsthe most significant and concerted focus, analysing surrealist women's writing in relation to parallelmale equivalences (often by Breton and Soupault), and tending towards a re-visioning of the conceptof selfhood for women. Much discussion elsewhere stages a critique of the implicit misogyny of the SurrealistProjectv. Whilst this is essential work, so far there is scant consideration of the ways these femaleartists on their own merit offer new insights into the creative process and represent genuinely fresh material,outside the literary and artistic taxonomy. Methodology:The novel will be shaped by the discoveries made during analysis of the fiction and will, reflexively, distila set of technical ideas which did not previously exist in relation to Surrealism.In my critical analysis of the selected texts, the following strategies will be traced:- Fiction as an autobiographical refraction- Literal masking of character within text- Journeys in disguise- Anti-anthropomorphic manifestations- Mythic re-figurings- Impersonation of genre archetypes- Impersonation of the surrealist project itself